How  to  make 

Doa  Rciures 


A  Book  for 
tKe  Amateur 
Photographer 


Published  by 


Eastman  Kodak  Company. 

ROCHESTER,  N.Y.  the  KodakCitj. 


TWELFTH   EDITION   1922 


How   to    Make 

Good  Pictures 


*A  Book  for 
the  ^Amateur 
^Photographer 


Published  by 

Eastman   Kodak   Company 

Rochester,  N.  Y.,   The  Kodak  City 


INDEX 


Page 

Page 

Architectural  Photography 

50 

Lantern  Slides     .... 

.      155-158 

Autographic  Kodaks      .      .      . 

27 

Lenses      

.      .      6-12 

Backgrounds       

67 

Lighting  

.      .         39 

Bromide  Paper   

.        147 

Loading  with  Cut  Film 

.      .         14 

Brownie  Enlarging  Camera      . 

152 

Loading  with  Roll  Film 

.     .        13 

Cameras  

.      5-15 

Loading  with  Plates      .      . 

.     .        14 

Cameras,  Choice  of        ... 

.      .     5 

Mounting      

.      .        123 

Clouds      

40-132 

Moving  Objects 

.    29,  45-46 

Color  Filters       

47-49 

Orthochromatism     . 

.      .    16-18 

Coloring  Lantern  Slides       .      . 

159-161 

Outdoor  Exposures  . 

40-46 

Coloring  Photographs    . 

161-163 

Outdoor  Work  

.      .    30-34 

Composition        

.   36-39 

Over-Development.       .      . 

.     .         99 

Dark-room  Development    .      . 

101 

Portrait  Attachments    .      . 

.     .        72 

Defective  Negatives      .      .      . 

99-100 

Portraiture    

.      .   57-73 

Developer  Formulae      .      .      . 

97-112 

Portraiture  ,  Flash-ligh  t  . 

.      .    74-85 

Developing  Paper    .... 

113-133 

Portraiture,  Home    . 

.      .    57-73 

Developing  with  Tank  .      .      . 

91-106 

Portraiture,  Outdoor 

.      .          68 

Development       

50-112 

Posing      ...            .      . 

.     .        91 

Diaphragms  

18-19 

Printing   

.      113-133 

Drying  Film  Negatives 

.      .  99 

Reduction      

.     .        99 

Enlarging       

134-154 

Reflectors      

.     .         88 

Exposure        

.    16-18 

Rising  Front       .... 

.     .         26 

Exposure  for  Outdoor  Subjects 

.  40-46 

Sepia  Tones  on  Bromide 

Filters,  Color      

47-49 

Paper   

.      .        148 

Fixing  Films  and  Plates      .      . 

98 

Sepia  Tones  on  Velox    .      . 

125 

Fixing  Velox        

121 

Shutters  

.      .          20 

Flash-light  Portraiture        .      . 

.   74-85 

Silhouettes    

.      164-167 

Flash-light  Work      .... 

.   74-89 

Speed  Pictures    .... 

.      .    31-34 

Focusing  

.   20-23 

Stops  

18-19 

Focusing  Scale    

.      .    21 

Street  Photography  . 

.     .        86 

Glossary  
Home  Portraiture    .... 

168-172 
.   57-73 

Tank  Development 

91-106 

Intensification     

100 

Timing     

.      .    22-24 

Interiors  

.   50-55 

Under-Development      .      . 

.      .        100 

Kodak  Amateur  Printer 

131 

Velox        

.      113-129 

Kodak  Film  Tank    .... 

.  91-98 

Velvet  Green       .... 

.      .        130 

Landscape  Photography 

36 

Washing  Film  Negatives     . 

.      .          99 

PREFACE 

"How  To  MAKE  GOOD  PICTURES,"  the  title  of 
•  this  book,  explains  its  mission. 

We  can  only  add  that  in  it  all  photographic 
processes  have  been  reduced  to  the  simplest  form 
consistent  with  good  results — complex  theories 
or  untried  experiments  have  not  been  introduced. 

We  have  given  prominence  to  the  Kodak 
system  of  picture  making  because  time  has 
demonstrated  its  supremacy  for  the  producing 
of  good  results  in  the  simplest  way. 

EASTMAN  KODAK  COMPANY 

ROCHESTER,  N.  Y. 


2O30315 


Summer  Time 


The  Choice  of  a  Camera 

THERE  was  a  time  when  it  was  customary  to  open  a  book  on 
photography  for  the  amateur  with  a  discussion  of  the  relative 
merits  of  film  and  plate  cameras.     Such  discussion  is  no  longer 
necessary,  for  film  quality  has  for  many  years  equalled  or  bettered  plate 
quality.    As  to  the  greater  convenience  of  film  there  has  never  been  any 
argument. 

In  addition  to  extreme  lightness  and  compactness,  combined  with 
great  durability,  the  film  camera  possesses  the  advantage  of  loading 
and  unloading  in  full  daylight;  in  fact,  with  the  cartridge  film  camera 
and  Velox  paper,  every  process  from  loading  the  camera  to  the  finishing 
of  the  print  may  be  accomplished  in  ordinary  light. 

The  sensitive  film  upon  which  the  image  is  impressed  by  the  action 
of  light,  put  up  in  its  convenient  and  compact  daylight  loading,  cartridge 
form,  weighs  but  one-twentieth  as  much  as  its  equivalent  in  glass  plates 
with  the  necessary  holders,  is  non-breakable,  and  may  be  developed 
without  the  aid  of  a  dark-room. 

In  speed  and  quality,  Kodak  Film  is  equal  to  the  finest  portrait 
plates;  it  i§  correct  in  orthochromatic  balance,  and  has  become  the 
most  dependable  of  photographic  products. 

With  the  perfection  of  the  modern  finder,  the  necessity  for  viewing 
the  image  on  the  ground  glass  screen  is  far  more  imaginary  than  real, 
and  with  the  extremely  accurate  scales  fitted  to  all  focusing  Kodaks 
the  correct  estimating  of  distance  for  sharp  focus  is  a  very  simple 
matter. 

However,  with  the  two  larger  sizes  of  the  folding  Kodaks — (3J4  x  4^ 
and  3J4  x  5%) — the  use  of  Kodak  Cut  Film  or  glass  plates  and  the 
ground  glass  focusing  screen  is  made  possible  by  means  of  a  simple  com- 
bination back  or  adapter  which  takes  the  place  of  the  regular  back. 

In  the  selection  of  any  particular  Kodak  the  safe  rule  is  to  buy 
the  best  the  purse  will  allow,  bearing  in  mind,  nevertheless,  that  satis- 
factory pictures  are  made  with  even  the  least  expensive  of  the  Kodaks 
or  Brownie  cameras. 

Practically  all  amateur  work  today  is  made  with  the  small  film 
camera.  In  many  of  the  amateur  photographic  exhibitions  large 
pictures  will  be  seen,  but  in  most  cases  the  foundation  of  these  pictures 
was  a  small  film  negative. 


THE  CAMERA 


LENSES 

It  follows  naturally,  with  the  variations  in  size  and  cost  of  the 
camera,  that  the  optical  equipment  will  vary  in  the  same  proportion, 
and  the  user  of  any  lens  should  familiarize  himself  with  its  limitations 
as  well  as  its  capabilities,  always  bearing  in  mind,  however,  that  the 
lens  equipment  of  any  Kodak  or  Brownie  camera  will  give  perfect 
results  within  its  limitations. 

Lenses,  commonly  used  in  hand  cameras,  may  be  divided  into  three 
classes:  "Single,"  composed  of  one  piece  of  glass;  "Single  Combination" 
(sometimes  also  called  simply  "Single"),  composed  of  crown  and  flint 
glass,  and  "Double  Combination"  (often  called  simply  "Double"), 
consisting  of  two  single  combinations.  The  "Double  Combination" 
is  also  known  as  "Rapid  Rectilinear."  Lenses  of  the  highest  correction 
and  with  greater  covering  and  illuminating  power 
are  broadly  classed  as  "anastigmats"  and  will  be 
compared  with  the  ordinary  type  later  on. 

Single  Lenses  are  made  in  two  forms, 
Single  meniscus  and  plano-convex.  The  meniscus 
Lenses  form,  giving  the  best  definition,  is  always 

employed  except  in  the  cheapest  class  of 
cameras.  These  lenses  are  always  mounted  behind 
the  diaphragm  which  controls  the  amount  of  light  to 
be  admitted  through  the  lens. 

Double  Double  combination 

Combination      lenses  are  usually  of 
Lenses  the  form  shown  in  the 

illustration  and  con- 
sist of  two  meniscus  lenses  mounted 
with  the  diaphragm  between. 

Corrected        All  glass,  when  ground 
Lenses  into  lenses,  has  the  qual- 

ity of  dispersing  the 
different  colored  rays  of  light  so  that 
they  will  not  focus  on  the  same  point. 

The  rays  which  act  on  the  sensitive  surface  of  the  film  and  pro- 
duce the  image  are  those  from  the  violet  end  of  the  spectrum  and 
are  called  the  actinic  or  chemical  rays.  The  visual  rays  are  from  the 
red  end  of  the  spectrum,  hence,  if  these  rays  are  separated  by  the 
lens,  the  image  we  would  see  on  the  ground  glass  is  not  the  one  which 
would  make  the  picture.  Fortunately  flint  and  crown  glass  have 
different  dispersive  powers,  and,  therefore,  one  can  be  made  to  correct 
the  action  of  the  other.  Hence,  if  we  assume  that  with  a  non-achromatic 
lens  such  as  shown  in  the  cut,  the  visual  focus  would  be  at  C,  the  chemical 
focus  would  be  at  A.  Flint  glass  bends  the  chemical  rays  more  than 


A,  Front  Combination.    B,   Back 
Combination.     C,  Stops. 

DOUBLE  LENS 


THE  CAMERA  7 

does  crown  glass,  and  so  by  combining  a  negative  lens  of  flint  glass 
with  a  positive  lens  of  crown  glass,  the  chemical  and  visual  rays  are 
brought  into  coincidence,  i.  e.,  are  brought  to  focus  in  the  same  plane 
as  at  B.  The  lens  is  then  called  "achromatic."  In  a  non-corrected 
lens  even  the  chemical  rays  do  not  all  focus  at  one  point,  but  in  small 
lenses  the  dispersion  may  be  so  slight  as  to  be  impossible  of  detection 
in  the  picture  by  the  naked  eye. 


i 
ABC 

NON-ACHROMATIC 


It  may  be  said  that  the  difficulties  of  lens  making  increase  in 
geometrical  ratio  to  the  size  of  the  film  or  plate  to  be  covered,  and 
many  forms  of  lenses,  other  than  those  illustrated  herewith,  have  been 
devised  to  overcome  these  difficulties. 

In  very  small  cameras  an  exceedingly  simple  lens  can  be  employed; 
for  instance,  the  lens  used  in  the  original  Pocket  Kodak,  which  took 
a  picture  1J^  by  2  inches,  was  a  single  meniscus  non-achromatic,  and 
probably  no  lens  ever  had  higher  praise  showered  upon  it,  the  reason 
being  that  it  was  carefully  made,  rigidly  tested  and  inspected  and  not 
overtaxed.  As  a  matter  of  fact  no  double  achromatic  lens  could  be 
made  that  would  surpass  it  in  brilliancy  or  covering  power.  For  larger 
sizes,  lenses  must  be  corrected,  but  there  is  little  in  the  double  lens, 
except  that  of  speed,  unless  3*4  by  4J4  or  larger  pictures  are  desired. 
Single  lenses  tend  to  slightly  curve  the  marginal  lines  of  the  picture, 
but  this  is  unnoticeable  in  small  pictures  and  is  unobjectionable  in 
view  work  of  any  size  unless  the  picture  contains  architectural  subjects. 

Double  lenses  can  be  worked  with  a  larger  stop  opening  than  single 
lenses  and  are,  therefore,  quicker,  especially  in  the  larger  sizes.  Such 
lenses  are  almost  essential  for  3]4  x  5^  snapshot  work  and  are  preferable 
for  3J4  x  4J4,  but  below  that  the  advantage,  except  that  of  speed, 
disappears.  Everything  depends  on  the  quality  of  the  work  put  into 
a  lens.  Differences  of  curve  or  polish,  not  to  be  detected  except  by  an 
expert,  often  constitutes  the  difference  between  a  good  and  poor  lens 
and  only  those  which  have  been  through  the  most  rigid  inspection  and 
trial  should  be  put  in  a  camera  by  the  manufacturer. 


8  THE  CAMERA 

"Fixed  Focus  Lenses"  are  so  often  mentioned  in 
Fixed  Focus  catalogues  and  advertisements  that  the  impression  has 

gained  ground  that  this  is  some  distinct  kind  of  lens, 
with  an  extraordinary  power  of  focusing  all  objects  near  and  far  in 
one  plane.  There  is  no  inherent  quality  in  any  lens  that  makes  it 
"fixed  focus;"  it  is  such  when  it  is  immovable,  and  that  is  all.  Any 
lens  can,  therefore,  be  made  "fixed  focus,"  but  the  extent  to  which  it 
will  focus  all  objects  in  one  plane  depends  upon  its  length  of  focus 
and  size  of  stop  or  diaphragm  used,  and  upon  that  only.  The  reason 
for  this  is  that  the  rays  of  light  from  near  and  far  objects  do  not  focus 
at  the  same  point.  For  instance,  in  the  exaggerated  diagram  shown 
below,  we  will  assume  that  B  is  the  point  at  which  objects  100  feet 


distant  will  focus  and  that  A  is  where  objects  10  feet  distant  will  focus. 
Now  the  distance  between  A  and  B  will  vary  in  ratio  to  the  focal  length 
of  the  lens.  In  a  lens  of  3-inch  focus  it  is  ascertained  mathematically 
to  be  i^  of  an  inch  and  in  one  of  12-inch  focus,  1^  inches.  Hence, 
if  using  a  3-inch  focus  lens  the  sensitive  surface  is  placed  between 
A  and  B,  the  object  at  100  feet  and  beyond  (all  objects  beyond  100 
feet  come  practically  within  one  focus)  and  objects  10  feet  distant 
will  none  of  them  be  more  than  ^  out  of  focus,  which  with  the  size 
of  stop  ordinarily  used  for  snapshot  work,  the  blurring  of  the  image 
is  so  slight  that  it  cannot  be  detected.  Experience  has  shown  that 
the  limit  of  focus  for  a  lens  which  is  to  be  employed  for  snapshot  work 
with  the  focus  fixed  is  under  5  inches;  in  other  words,  that  a  3%  x  4J4 
film  is  about  the  largest  that  can  be  used  to  advantage  under  such 
circumstances.  It  is  possibly  true  that  for  cameras  of  this  size  and 
under,  little  can  be  gained  by  having  the  focus  adjustable,  and  that, 
on  the  other  hand,  better  average  results  will  be  obtained  with  a  fixed 
focus,  owing  to  the  fact  that  there  is  no  adjustment  that  will  allow 
the  lens  to  be  put  out  of  focus  by  a  mistake  in  estimating  distances. 

As  stated  earlier,  aside  from  the  simpler  forms  of 
Anastigmat  lenses,  there  are  those  much  more  highly  corrected, 
Lenses  and  calculated  upon  formulae  that  permit  their  wprking 

at  a  much  larger  aperture  than  the  rapid  rectilinear 
lens.  Such  lenses  are  termed  anastigmats. 

To  secure  a  sharp,  satisfactory  negative  with  the  ordinary  R.  R. 
Lens,  its  opening  cannot  be  larger  in  diameter  than  one-eighth  the 
focal  length  of  the  lens.  Such  opening  admits  sufficient  light  on  clear, 


THE  CAMERA  9 

bright  days  to  obtain  well-timed  exposures  even  as  fast  as  )ioo   of  a 
second;  but  in  very  dull  lights  snapshots  are  impossible. 

But  with  an  anastigmat  the  construction  and  optical  corrections 
are  such  that  sharp,  satisfactory  pictures  may  be  made  at  an  opening 
more  than  one-seventh  the  focal  length  of  the  lens — hence  admitting 
over  60  per  cent,  more  light  in  a  given  time  than  the  R.  R.  Lens.  In 
combination  with  a  Focal  Plane  shutter  exposures  as  short  as  J-iooo 
second  may  be  made,  and  on  dull  days  and  even  indoors,  where,  with  an 
R.  R.  Lens  little  or  no  impression  could  be  obtained,  the  anastigmat 
admits  so  much  light  that  "slow  snapshots"  may  be  made. 


GET  ACQUAINTED  WITH  YOUR  LENS 

The  user  of  any  lens  should  familiarize  himself  with  its  limitations 
as  well  as  with  its  capabilities.  This  is  particularly  true  in  the  case 
of  Anastigmats,  and  we  therefore  ask  that  those  who  are  not  entirely 
familiar  with  photographic  optics  read  the  following  brief  explanation, 
that  they  may  get  the  full  benefit  of  the  power  of  their  lens  and  that, 
on  the  other  hand,  they  do  not  ask  of  it  the  impossible.  It  should  be 
borne  in  mind,  however,  that  what  we  have  to  say  here  is  applicable 
only  to  lenses  of  from  4.  to  8%  inch  focus,  such  as  are  supplied  on  hand 
cameras.  These  directions  make  no  pretension  to  covering  the  entire 
field  of  photographic  optics. 

In  comparing  the  work  of  one  lens  with  another,  you  must  first 
of  all  remember  that  such  comparisons  must  be  made  with  a  stop 
opening  of  the  same  relative  size  (/  value) .  *  In  comparing  the  Anas- 
tigmat with  the  ordinary  Rapid  Rectilinear  lens,  do  not  expect  as 
great  depth  of  focus  with  your  Anastigmat  set  at  an  opening  of /.6.3 
as  your  R.  R.  lens  gives  at  its  largest  opening,  /.8.  The  Anastigmat 
at/.8  will  give  as  great  depth  of  focus  as  will  an  R.  R.  of  the  same  focal 
length  with  the  same  opening,  while  on  the  other  hand,  the  R.  R.  will 
not  work  at  all  at /.6.3. 

Suppose,  now,  that  you  are  using  your  Anastigmat 
What  Depth  at  the  full  opening  /.6.3  and  have  set  the  focus  at 
of  Focus  15  feet.  An  object  15  feet  distant  will  be  absolutely 

Means  sharp,  but  objects  10  and  20  feet  distant  will  not  be. 

Stop  your  Anastigmat  down  to  /.8  or  /.ll  and  those 
objects  each  side  of  the  exact  point  of  focus  will  increase  in  sharpness. 
Go  further  and  use  stop  /.22  or  a  still  smaller  stop,  and  everything 
from  about  10  feet  on  to  infinity  will  be  sharp.  It  will  thus  be  seen 
that  the  smaller  the  stop,  the  greater  the  depth  of  focus,  i.  e.,  the 
greater  the  power  of  the  lens  to  sharply  define,  at  the  same  time, 
objects  nearer  the  camera  and  further  from  the  camera  than  the 


*It  should  be  borne  in  mind  that  the  shorter  the  length  of  focus,  the  greater 
the  depth  of  focus.     This  explains  why  very  small  cameras  can  have  a  "fixed  focus" 
(immovable),  while  larger  cameras  are  all  made  so  that  they  can  be  focused. 
See  Chapter  on  Diaphragms,  page  18. 


10  THE  CAMERA 

principal  object  in  the  picture,  which,  of  course,  is  the  object  focused 
upon.  But  it  is  obvious  that  with  the  small  stops  the  exposure  must  be 
correspondingly  lengthened. 

Using  a  stop  of  /.8  or  smaller  the  advantage  of  the 
Anastigmat  Anastigmat  over  the  really  excellent  Rapid  Rectilinear 
Speed  lenses  furnished  with  our  cameras  is  not  marked,  but 

there  is  an  improvement  in  definition  and  in  the 
correctness  of  lines.  But  let  us  suppose  that  we  desire  to  photograph 
a  rapidly  moving  object,  or  to  take  a  picture  on  a  cloudy  day.  What 
do  we  find?  The  /  value  of  a  lens  denotes  the  relation  of  the  opening 
in  the  lens  to  its  focal  length.  Suppose,  then,  that  we  have  a  single 
achromatic  lens  of  5-inch  focus,  speed/.  14,  a  Rapid  Rectilinear  lens  of 
5-inch  focus,  speed  /.8,  and  an  Anastigmat  lens,  speed /.6.3,  of  the  same 
length  of  focus,  5  inches.  How  do  they  compare  in  speed?  To  reduce 
this  to  its  simplest  terms  we  will  divide  the  focal  length  (5  inches)  in 
each  case  by  the/ value. 

5  -^  14  =  .357 
5  H-  8  =  .625 
5  -T-  6.3  =  .793 

It  will  thus  be  seen  that  in  using  the  single  lens  the  largest  opening 
is  35/!ooo  of  an  inch  in  diameter,  with  the  R.  R.  lens  62^looo  of  an  inch 
and  with  the  Anastigmat  79|Kopo  of  an  inch.  The  amount  of  light 
admitted  by  a  lens  in  a  given  time  depends,  of  course,  upon  the  area 
of  the  opening  at  that  time  being  used  in  that  lens.  The  amount  of 
light  admitted  in  a  given  time  with  these  different  lenses  would,  there- 
fore, be  in  direct  proportion  to  the  square  of  their  diameters.  Here, 
then,  omitting  the  fractions,  is  the  result: 

Single  lens  .357  X  .357  =  .127 

R.  R.  lens  .625  X  .625  =  .390 

Anastigmat  lens  .793  X  .793  =  .628 

We  thus  find  that  the  speed  of  the  R.  R.  lens  is  over  three  times  that 
of  the  single  lens,  and  the  speed  of  the  Anastigmat  is  61%  greater 
than  the  speed  of  the  R.  R.  lens.  Therein  lies  the  greatest  Anastigmat 
advantage.  But  simply  because  it  has  this  speed  you  do  not  always 
need  to  use  it.  The  speed  must  be  used  with  discretion,  just  as  greater 
care  is  required  in  operating  an  automobile  than  in  operating  a  bicycle. 

Under  conditions  that  would  give  you  good  results  with  an  R.  R. 
lens  at  /.  1 1  use  stop  /.  1 1  with  your  Anastigmat — do  not  use  the  largest 
opening  for  every  occasion;  use  it  only  for  emergency.  Your  greatest 
Anastigmat  advantage  lies  in  the  fact  that  when  the  light  is  so  poor  that 
you  cannot  get  a  properly  timed  negative  with  your  R.  R.  lens  at  its  greatest 
opening  f.8  without  resorting  to  a  time  exposure,  you  can  open  up  your 
Anastigmat  to  its  full  opening  and  get  a  successful  snapshot. 

For  the  same  reason,  i.  e.,  because  the  Anastigmat  admits  more 
light  in  a  given  time  than  does  the  R.  R.  lens,  it  is  used  in  con- 
nection with  high  speed  shutters  for  photographing  rapidly  moving 


THE  CAMERA  11 

objects.  Even  in  bright  sunlight  the  R.  R.  lens  will  not  give  sufficient 
illumination  to  make  its  use  practical  with  the  extremely  high  speed 
shutters  when  worked  at  their  shortest  exposures — but  the  Anastigmat, 
by  reason  of  the  'arge  opening  that  can  be  used,  enables  you  to  take 
advantage  of  the  high  speed  shutter. 

Strange  as  it  may  seem,  there  are  some  amateurs  who 
Shutter  do  not  understand  the  difference  between  a  fast  lens 

Speed  and  and  a  fast  shutter,  thinking,  apparently,  that  because 
Lens  Speed  they  have  a  fast  lens  they  should  catch  all  moving 

objects  sharply,  or  because  they  have  a  fast  shutter 
that  their  pictures  should  be  fully  timed.  The  reverse  of  this  is  the 
truth.  The  fast  shutter,  by  reason  of  shortening  the  exposure,  cuts 
down  the  light  and  tends  toward  undertiming.  *  Remember  that  the 
speeds  are  always  relative.  Your  Anastigmat  opened  to  /.6.3  will  not 
give  as  fully  timed  a  negative  in  >£oo  of  a  second  as  your  R.  R.  lens  will 
at /.8  in  }{oo  of  a  second.  Your /. 6. 3  Anastigmat  is  61%  faster,  not 
100%  faster  than  the  R.  R.  lens. 

We  have  had  some  complaints  that  the  Anastigmats 
Unfair  were  not  giving  as  fully  timed  negatives  as  they  should 

Comparisons  in  comparison  with  the  R.  R.  lens  which  our  customer 

had  previously  used.  In  every  case  we  have  found 
that  the  fault  was  not  in  the  Anastigmat,  but  in  the  old  shutter  with 
which  the  R.  R.  lens  was  used — such  shutter  having  become  dirty  or 
through  the  springs  weakening  or  other  cause,  failing  to  work  at  its 
supposed  speed — the  result  under  such  circumstances  being  that  the 
old  lens  was  getting  the  benefit  of  a  much  longer  exposure  than  was 
intended,  while  the  faster  shutter  fitted  to  the  Anastigmat  was  cutting 
off  the  light  with  greater  accuracy. 

The  user  of  an  Anastigmat  should  bear  in  mind  that 
Two  "Stop"  there  are  two  systems  under  which  shutters  are  marked 
Systems  for  stop  openings  and  this  must  be  reckoned  with 

in  making  comparisons.  Most  shutters  for  R.  R. 
lenses  are  marked  on  the  Uniform  System  (abbreviated  to  U.  S.), 
while  the  shutters  for  Anastigmats  are  marked  by  the  /  system.  The 
/  value  of  a  stop  is  the  proportion  that  its  opening  bears  to  the  focal 
length  of  the  lens.  For  instance,  /.8  means  that  the  diameter  of  the 
stop  opening  is  J/g  of  the  focal  length  of  the  lens,  etc.  The  Uniform 
System  is  based  on  the  areas  of  the  openings,  each  next  higher  number 
haying  half  the  area  of  the  preceding  number  and  therefore  requiring 
twice  the  exposure.  For  instance:  If  }{ op  of  a  second  be  correct  for  stop 
U.  S.  4,  then  with  the  same  light  conditions  and  stop  U.  S.  8,  Y50  of  a 
second  would  be  required.  However,  the  two  systems  are  easily 
compared. 


"This  refers  in  particular  to  between  the  lens  shutters.  With  a  focal  plane 
shutter,  such  as  used  in  Graflex  Cameras,  other  factors  enter.  Such  shutters  give 
more  illumination  of  the  film  in  a  given  time  than  between  the  lens  shutters — but 
on  the  other  hand,  work  many  times  faster  when  at  full  speed. 


12  THE  CAMERA 

TABLE 

U.  S.      4  .     .     .     .     .      .      .  /.  8 

U.  S.      8 /.ll 

U.  S.    16 /.16 

U.  S.    32 /.22 

U.  S.    64 /.32 

U.  S.  128  .  .  /.45 

There  is  no  exact  U.  S.  designation  for/.6.3,  it  is  approximately  2.5. 

The  larger  the  stop  opening  the  less  depth  of  focus. 
A  Law  This  is  not  a  rule  covering  any  particular  lens  that 

of  Optics  we  or  anyone  else  exploits.    It  is  a  fixed  law  of  optics, 

that  with  a  large  opening,  depth  of  focus  must  be 
sacrificed.  In  the  matter  of  opening,  then,  the  difference  between 
the  R.  R.  and  the  Anastigmat  is  this:  The  Anastigmat  will  cut  perfectly 
sharp  on  objects  at  the  focused  distance,  over  the  entire  picture  with  a 
large  opening,  admitting  a  large  amount  of  light,  thus  requiring  a 
relatively  short  exposure;  but  when  this  large  opening  is  used,  there 
is  no  great  depth  of  focus.  The  R.  R.  lens  will  not  cut  the  entire  picture 
sharp  with  this  large  opening,  even  if  correctly  focused.  With  the 
smaller  openings,  as  /.8,  etc.,  the  Anastigmat  has  the  same  depth  of 
focus  as  the  R.  R.  lens  and  gives  sharper  definition  over  the  entire 
picture. 

It  is  perfectly  evident  then  that  it  is  best  to  use  only 
Deductions  a  moderately  large  stop  opening  (say /.8  or/.  11)  even 
with  an  Anastigmat,  and  time  accordingly  when 
conditions  will  permit.  However,  when  the  light  is  dull  and  a  snapshot 
is  desired,  the  full  opening  may  be  used;  or  if  it  is  desired  to  photograph 
rapidly  moving  objects  in  good  light,  the  full  opening  may  be  used 
with  a  high  speed  of  the  shutter.  It  must  not  be  expected,  however, 
that  with  such  full  opening  objects  in  the  foreground,  in  the  middle 
distance  and  at  long  distance  can  all  be  sharp.  Set  the  scale  for  the 
correct  focus  on  the  principal  object  and  that  object  will  be  sharp. 
As  a  rule,  your  picture  will  be  rather  better  for  having  the  unimportant 
parts  less  sharply  defined  than  the  principal  subject. 

The  Anastigmat  will  do  everything  better  than  the  R.  R.  It  will 
do  some  things  that  the  R.  R.  cannot  do  at  all — but  no  lens  has  yet 
been  designed  or  is  likely  to  be  that  can  combine  extreme  speed  with 
depth  of  focus,  except  in  the  very  small  sizes,  or,  in  other  words,  except 
in  lenses  of  very  short  focus.  Even  in  these,  the  error  is  there,  though 
not  noticeable. 

In  making  these  comparisons  we  would  be  doing  the  subject  scant 
justice  did  we  omit  to  mention  the  anastigmat  lens  especially  designed 
to  meet  Kodak  requirements. 

The  Kodak  Anastigmat  Lens  has  all  the  quality  and  dependability 
which  the  word  Kodak  implies. 


THE  CAMERA 


13 


KNOW  YOUR  CAMERA 

Before  attempting  the  making  of 
pictures  it  is  of  the  utmost  importance 
that  you  fully  understand  your  camera 
and  its  equipment.  A  camera  in 
its  simplest  form  would  be  a  simple 
box,  made  light-tight,  with  a  lens 
at  one  end  and  a  means  for  supporting 
a  plate  or  film  inside  the  box  at  the 
other  end,  as  illustrated  in  the  accom- 
panying diagram. 

The  bellows,  shutter  and  other 
attachments  are  simply  convenient 
modifications  of  this  form;  the  bellows 
permitting  the  folding  of  the  light 
chamber,  and  the  shutter  a  means  for  allowing  the  light  to  pass  through 
the  lens  for  definite  periods. 

Before  attempting  to  load  the  camera,  examine  it  carefully  and 
familiarize  yourself  with  the  shutter  and  its  workings.  Note  carefully 
the  diaphragm  or  stop  openings  in  the  shutter,  and  how  with  the  larger 
opening  a  greater  quantity  of  light  passes  through  the  lens  in  a  given 
time,  and  you  will  then  understand  why  we  use  the  largest  opening  for 
snapshots,  and  the  smaller  ones  for  time  exposures.  The  use  of  the 
diaphragms  or  stops  is  fully  explained  on  page  18. 

Having  mastered  the  operation  of  the  shutter,  and  the  focusing 
device,  if  your  camera  is  provided  with  one,  and  having  some  knowledge 
of  the  conditions  necessary  for  picture  taking,  the  camera  may  be 


We  will  presume  that  you  have  taken  the  advice  given  in  the  previous 
pages  and  are  in  possession  of  a  roll  film  camera. 

LOADING  THE  CAMERA 

With  Roll         With  a  Kodak  this  operation  is  performed 
Film  in  daylight  and  is  very  simple.     The  film 

is  put  up  in  light-tight  rolls,  and  extending 
the  full  length  of  the  strip  of  film  and  several  inches  beyond 
each  end  is  a  strip  of  duplex  paper,  red  on  one  side  and 
black  on  the  other,  which,  in  connection  with  the  flanges 
on  the  spool,  forms  a  light-proof  cartridge. 

The  Autographic  Film  Cartridge  is  described  on  page 
27. 

After  inserting  the  spool  and  threading  up  the  paper 
the  camera  is  closed  and  the  key  turned  until  the  paper  CARTRIDGE 
has  been  partly  reeled  off  and  the  sensitive  film  brought  into 
place  in  the  focal  plane.     The  duplex  paper  runs  with  and  behind 
the  film,  and  at  proper  intervals  is  marked  with  the  number  of  the 
section  of  film,  1,  2,  3,  etc.     In  the  back  of  the  camera  is  a  small  red 
window  through  which  the  figures  appear  as  the  key  is  turned.      Press 
the  key  slightly  and  turn  slowly  to  the  left,  watching  the  little  red 


14  THE  CAMERA 

window  at  the  back  of  the  camera.  When  15  to  18  turns  have  been 
given  a  hand  pointing  toward  the  first  number  will  appear,  then  turn 
slowly  until  the  figure  1  is  in  the  center  of  the  red  window. 

The   warning   hand   appears   only   before   No.    1.      These   figures 
show  just  how  far  to  turn  the  key  and  how  many  exposures  have  been 
made.     After  all  the  exposures  have 
been  made,  a  few  extra  turns  of  the 
4  key   entirely    covers    the    film    with 

I  duplex  paper  and  the  camera  may  be 

unloaded  in  daylight. 

It  is  all  as  simple  as  threading 
a  needle   (simpler  for  a  man),   and 

with  each  camera  a  manual  is  supplied  explaining  each  step.  The 
amateur  must  bear  constantly  in  mind,  however,  that  the  paper  must 
be  kept  tightly  rolled  about  the  film  all  the  time  until  it  is  in  place 
in  the  camera  and  the  camera  closed,  for  should  the  film  be  exposed  to 
daylight  for  even  a  hundredth  part  of  a  second  it  would  be  ruined. 

In  the  regular  amateur  sizes  Autographic  Film  Cartridges  of  the  1  % 
\'2^i  (Vest  Pocket)  size  are  obtainable  in  eight  exposure  rolls;  the  2% 
x  3K  in  six  exposure  rolls;  2>2  x  4^  and  3^  x  4%  in  six  and  twelve 
exposure  rolls  and  the  2%  x  4J/6  and  3*4  x  5J^  in  six  and  ten  exposure 
rolls.  For  the  3K  x  3^  and  4x5  cameras  film  is  obtainable  in  six  and 
twelve  exposure  rolls. 

Kodak  Cut  Kodak  Cut  Film  has  all  the  advantages  of  glass  plates 
Film  and  and  in  addition  is  non-halation,  weighs  but  a  fraction 
Combination  as  much,  is  easier  to  handle,  unbreakable,  and  produces 
Back  negatives  of  superior  quality.  By  means  of  the  Com- 

bination Back,  Kodak  Double  Plate  Holder  and  the 
Kodak  Cut  Film  Sheath,  the  Nos.  3  and  3A  Kodaks,  both  regular  and 
Special  models,  can  be  adapted  to  use  Kodak  Cut  Film.  It  is  supplied 
in  two  speeds — Kodak  Cut  Film  regular  emulsion  equal  in  speed  to  the 
best  portrait  plates  and  standard  in  every  respect;  Kodak  Cut  Film 
Super-Speed,  an  extra  fast  emulsion  which  can  be  depended  upon  to 
give  the  best  negatives  under  difficult  light  conditions,  or  when  an  ex- 
posure must  be  necessarily  short. 

Loading  Cut  For  loading  with  Kodak  Cut  Film  or  glass  plates 
Film  and  a  dark-room  is  necessary,  that  is,  a  room  from  which 

Plates  all  white  light  is  excluded.     A  safe  dark-room  lamp 

and  a  table  or  shelf  should  be  provided.  After  making 
sure  that  no  white  light  is  entering  the  room  remove  the  dark  slides 
from  the  plate  holders  and  have  ready  the  empty  cut  film  sheaths. 
If  loading  with  Kodak  Cut  Film  take  a  film  from  the  box  and  slide  it 
into  the  grooves  on  the  two  sides  of  the  sheath,  emulsion  side  face  up. 
Two  V  notches  will  be  felt  in  one  edge  of  the  film.  When  the  film  is 
held  with  these  notches  on  the  upper  edge  and  at  the  right  hand  corner 
the  emulsion  or  sensitive  side  is  face  up.  The  sheath  is  now  put  into  the 
plate  holder,  face  out,  and  the  dark  slide  inserted  with  the  rough  side  of 
the  handle  facing  the  film.  If  the  plate  holder  is  a  double  holder  re- 
peat the  operation  for  the  other  side. 


THE  CAMERA  15 

To  load  with  glass  plates  the  operation  is  much  the  same.  Handle 
the  plate  by  its  edges  and  put  it  in  the  holder  face  up — the  face  is  the 
dull  side,  replace  the  dark  slide  and  fill  other  side. 

Any  films  or  plates  left  in  the  box  should  be  carefully  covered  be- 
fore the  white  light  is  turned  on.  It  is  important  that  the  black  sheets 
that  separate  the  Kodak  Cut  Films  in  packing  should  be  kept  dry  and 
clean  and  replaced  between  the  films  after  exposure  and  before  develop- 
ment if  this  is  not  carried  out  immediately  when  the  holders  are  un- 
loaded. 

By  use  of  the  Kodak  Film  Pack  the  ordinary  plate 
The  Film  camera  is  transformed  into  a  daylight  loading  film 

Pack  camera  with  the  advantage  of  focusing  on  the  ground 

glass  the  same  as  when  using  plates.  This  pack  con- 
sists of  twelve  flat  cut  films  packed  together  in  a  light-proof  paper 
case.  Attached  to  each  film  is  a  paper  tab,  the  end  of  which  is 
numbered,  thus  showing  just  which  film  is  in  position  for  exposure. 
The  method  of  using  this  pack  is  extremely  simple,  as  the  only  move- 
ment necessary  in  placing  a  film  in  position  for  the  next  exposure  is 
simply  to  pull  out  a  tab. 


16  MAKING  THE  EXPOSURES 


MAKING  THE  EXPOSURES 

Before  attempting  the  actual  making  of  exposures  it  is  essential 
that  the  beginner  have  some  practical  knowledge  of  the  sensitive  film, 
its  composition  and  the  action  of  light  upon  it. 

The  only  difference  between  a  dry  plate  and  a  film  is  in  the  support, 
that  of  the  plate  being  a  sheet  of  glass,  and  of  the  film  a  flexible  trans- 
parent material  that  is  light,  non-breakable  and  Tollable,  the  sensitive 
coating  or  emulsion  in  each  instance  being  the  same.  In  addition 
to  the  advantages  of  a  light,  flexible  and  non-breakable  support,  film 
possesses  several  other  distinct  and  important  advantages: 

Kodak  Roll  Film  is  protected  by  being  backed  with  a  strip  of 
specially  prepared  paper,  red  on  one  side  and  black  on  the  other, 
the  red  side  coming  in  contact  with  the  sensitive  surface  of  the  film. 
This  backing  in  combination  with  the  thinness  of  the  film  support 
renders  the  film  almost  entirely  free  from  halation,  a  defect  found 
very  largely  in  all  glass  plates  unless  specially  prepared.  Halation 
and  its  causes  are  explained  in  the  Glossary.  This  freedom  from 
halation  gives  the  film  a  far  greater  latitude  in  exposure  than  can  be 
given  with  plates,  and  especially  adapts  it  to  the  conditions  of  harsh 
lightings  under  which  the  amateur  ordinarily  works. 

In  addition  to  these  most  advantageous  features,  Kodak  Film 
is  superior  in  Orthochromatic  Quality.  As  this  is  a  most  important 
qualification  a  rather  full  explanation  is  desirable. 

In  the  earlier  days  of  photography  the  plates  used  gave  very 
untruthful  renderings  of  color  values.  Yellow  and  red,  for  instance, 
photographed  as  black,  while  violet,  indigo  and  blue,  photographed 
as  white.  The  chart  on  page  17  shows  the  range  of  the  spectrum  from 
violet  to  red. 

The  ordinary  plate  is  highly  sensitive  to  violet,  a  trifle  less  sensitive 
to  indigo,  and  so  on;  as  we  approach  the  other  end  of  the  spectrum, 
the  yellow  and  orange  rays  affect  the  plate  but  little  and  the  red  rays 
hardly  at  all. 

An  orthochromatic  plate  or  film  is  one  in  which  these  errors  have 
been  so  far  corrected  as  to  give  truer  color  value,  i.  e.,  the  emulsion 
is  sensitive  to  a  wide  range  of  colors  in  an  equal  or  nearly  equal  degree. 

With  a  non-orthochromatic  plate  you  might  be  making 
Why  Ortho-  a  picture,  with  say  a  bed  of  flowers  in  the  foreground 
chromatism  — some  light  yellow  and  others  dark  blue.  The  nega- 
Helps  tive,  owing  to  its  deficiencies,  would  yield  a  print  in 

which  the  yellow  flowers  would  appear  darker  than 
the  blue  ones,  though  to  the  eye,  the  yellow  flowers  had  appeared 
lighter. 

In  other  words,  it  would  not  give,  in  the  resulting  picture,  the  true 
color  values.  The  fully  orthochromatic  film  or  plate  corrects  the 
mistakes  and  renders  the  color  values  (the  intensities  of  color)  in  their 
proper  relation  to  each  other. 


MAKING  THE  EXPOSURES  17 

In  the  same  way  the  orthochromatic  film  helps  to  preserve  cloud 
effects,  differentiating  between  clouds  and  the  surrounding  blue  sky. 

In  a  properly  equipped  factory,  such  as  ours,  there  is  no  difficulty 
whatever  in  making  any  desirable  degree  of  orthochromatism. 
Naturally,  however,  intelligent  use  must  be  made  of  this  ability.  For 
instance,  we  manufacture  a  plate  (Panchromatic)  that  is  so  sensi- 
tive to  red  that  not  even 
the  most  perfect  ruby  lamp 
can  be  used  with  it,  and  it 
has  to  be  handled  in  an 
extremely  feeble  green  light. 
It  is  therefore,  self-evident 
that  such  a  film  or  plate 
would  not  be  practical  for 
ordinary  use. 

Kodak  film  was  first 
made  as  an  orthochromatic 
film  in  1903.  Up  to  that 

\mgmm     time  we  had  sold  hundreds 
•~t\  ma      of      thousands      of      orange 

dark-room  lamps  with  our 
developing  outfits.  Imme- 
diately it  became  necessary 
to  substitute  a  deep  red  for 
orange  because  this  or- 
thochromatic film  was  so 
sensitive  to  yellow. 

Kodak  Film  has  behind  it,  not  only  perfect  manufacturing  facilities, 
but  every  advantage  that  experience  and  scientific  research  can  offer, 
and  possesses  orthochromatic  quality  in  absolutely  the  right  degree 
to  give  the  best  possible  average  results  in  the  hands  of  the  amateur. 

Kodak  Film  is  the  most  perfectly  balanced  film  in  the  rendering  of 
color  values. 

Everything  else  being  equal  film  will,  therefore,  give  better  results 
for  the  amateur  than  can  be  secured  on  glass  plates. 

A  negative  is  produced  by  the  action  of  the  rays  of  light  passing 
through  the  lens,  and  coming  to  a  focus  on  the  sensitive  surface  of 
the  film  which  is  composed  of  an  emulsion  of  silver  salts.  Light  colored 
objects  reflect  strong  rays  of  light  and  they  affect  the  sensitive  surface 
the  most.  With  a  clear,  bright  sky,  the  rays  from  it  will  render  the 
sky  in  the  negative  opaque,  or  nearly  so;  the  rays  reflected  from  a 
white  object  will  be  almost  as  strong  as  those  from  the  sky;  the  rays 
from  a  red  brick  chimney  will  affect  the  sensitive  surface  much  less, 
while  so  little  light  comes  from  heavily  shaded  places  as  to  hardly 
produce  an  impression.  Therefore,  we  have  in  the  negative,  a  record 
of  the  lights  and  shadows  as  we  see  them,  but  all  reversed.  When 
these  are  again  reversed  in  making  a  print  from  the  negative,  we  have 
them  again  in  their  proper  relation.  A  certain  amount  of  light  is 
necessary  in  order  to  produce  a  negative  of  proper  density.  We  can 
make  a  snapshot  out-of-doors  on  a  bright  day  in  l/5o  of  a  second  or  even 


18  MAKING  THE  EXPOSURES 

less.  If  we  wish  to  take  a  picture  indoors  on  the  same  day,  we  must 
expose  from  two  seconds  to  several  minutes,  according  to  the  amount 
of  light  entering  through  the  windows,  and  the  coloring  of  the  wall 
and  floor  coverings.  You  cannot  make  a  snapshot  indoors,  neither  can 
you  give  a  long  time  exposure  outdoors  on  a  bright  day,  with  successful 
results — your  exposure  must  be  approximately  correct.  Fortunately, 
Kodak  Film  has  most  remarkable  latitude  and  one  can  vary  quite  a 
percentage  either  way  from  the  absolutely  normal  exposure  and  still 
produce  good  results. 

In  the  chapter  devoted  to  home  portraiture,  a  number  of  comparative 
experiments  are  given.  See  page  57. 

STOPS— OR  DIAPHRAGM  OPENINGS 

An  understanding  of  the  use  of  the  lens  diaphragms  or  stops  is 
absolutely  essential  to  good  work.  The  best  part  of  a  lens  is  its  center, 
i.  e.,  those  rays  of  light  which  pass  through  a  lens  at  or  near  its  center 
will  be  correctly  refracted  and  will,  therefore,  give  an  image  sharp 
and  clear  on  the  ground  glass,  while  the  rays  which  pass  through  the 
outer  edges  of  the  lens  will  not  make  such  a  clear  and  distinct  image. 
It  can  thus  be  seen  that  the  smaller  the  stop  opening  the  sharper  the 
picture,  because  the  outside  rays  of  light  will  be  cut  off.  It  naturally 
follows  that  with  the  smaller  opening  we  employ  the  less  light  we  are 
admitting  in  a  given  time. 

As  an  instructive  experiment,  if  the  beginner  has  a  camera  with 
a  focusing  screen,  let  him  focus  some  object  on  this  screen,  using  the 
largest  stop  opening,  and  noting  the  lines  comprising  the  image  to  see 
if  they  are  sharp.  Then  let  him  use  the  smaller  opening  and  note  the 
increase  in  sharpness,  and  the  decrease  in  light.  The  better  the  lens, 
the  larger  the  stop  opening  we  can  use  successfully,  and  consequently 
the  "faster"  the  lens.  Suppose  we  have  one  lens  of  eight-inch  focus, 
and  we  find  that  in  a  given  light  we  can  make  a  clear,  sharp  picture 
in  five  seconds  with  a  stop  one  inch  in  diameter,  while  with  another 
lens  of  the  same  focal  length  we  must  use  a  stop  of  but  one-half  inch  in 
diameter  in  order  to  get  a  sharp  picture.  Unless  you  stop  to  think  your 
answer  will  be  10  seconds  for  the  lens  with  the  half-inch  opening.  As 
a  matter  of  fact  we  must  give  four  times  the  exposure,  or  20  seconds, 
because  the  area  of  the  one-inch  stop  is  four  times  that  of  the  half-inch 
stop.  Now,  if  we  know  the  correct  exposure  with  any  one  stop  we 
can  figure  the  correct  exposure  with  any  other  stop  by  the  following 
rule: 

The  time  variation  between  two  stops  is  inversely  as  the  square 
of  their  diameters.  With  most  of  our  single  lens  cameras  (box  type) 
there  are  stop  openings  of  three  sizes :  the  largest  for  ordinary  snapshots, 
the  second  (which  has  almost  %  the  diameter  of  the  largest)  for  snapshots 
on  the  water  or  for  time  exposures,  the  third  for  time  exposures — never 
for  snapshots. 

With  the  Rapid  Rectilinear  lenses  there  is  a  greater  number  of 
stop  openings  and  they  are  arranged  by  what  is  known  as  the  Uniform 
System,  commonly  abbreviated  to  "U.  S."  See  page  19. 


MAKING  THE  EXPOSURES  19 

The  convenience  of  the  U.  S.  System  lies  in  that  each  higher  number 
stands  for  an  opening  haying  half  the  area  of  the  preceding  opening. 
For  instance,  the  table  given  on  page  54  is  for  use  with  stop  16  with 
the  No.  3A  Autographic  Kodak.  If  we  use  stop  U.  S.  8  give  one- half 
the  time;  with  U.  S.  32  we  must  give  twice,  or  if  U.  S.  64  is  used,  give 
four  times  the  time  of  the  table. 

The  shutters  used  with  Anastigmat  equipment  are  usually  marked 
with  the/,  system.  See  page  12. 

Ordinarily  the  appended  table  is  a  good  one  to  follow  in  the  use  of 
the  stops  with  a  Rapid  Rectilinear  or  Kodak  Anastigmat  f.7.7  lens, 
but  there  are  some  exceptions: 

Note:  U.  S.  4  equals  /.8,  but  the  speeds  of  f.S  and  f.7.7  are  so 
nearly  identical  that  the  same  exposure  can  be  given  in  either  case. 

U.  S.  4,  /.8,  f.7.7 — for  instantaneous  exposures  in  slightly  cloudy 
weather,  using  speed  25.  Do,  not  attempt  instantaneous  exposures 
on  dark,  cloudy  days. 

U.  S.  8,  /.ll — for  all  ordinary  instantaneous  exposures  when  the 
subject  is  in  the  bright  sunshine,  using  speed  25. 

U.  S.  16,  /.16 — for  instantaneous  exposures  when  the  sunlight  on 
the  subject  is  unusually  strong  and  there  are  no  heavy  shadows;  such 
as  views  on  the  seashore  or  on  the  water,  using  speed  50;  for  ordinary 
landscapes  in  bright  sunshine  with  clear  sky  overhead;  also  for  interior 
time  exposures. 

U.  S.  32,  /.22 — for  instantaneous  exposures  of  extremely  distant 
views,  marine  of  snow  scenes,  or  clouds  in  bright  sunshine,  at  speed 
25;  also  for  tune  exposures. 

U.  S.  64  and  128,  /.32,  /.45 — for  tune  exposures  outdoors  in  cloudy 
weather — see  table  on  page  54.  Never  for  instantaneous  exposures. 

To  get  the  greatest  "depth  of  focus,"  i.  e.,  have  all  objects  both 
near  and  far,  needle-sharp,  use  the  smallest  stop. 

TJ.  S.  4  or  f.7.7  stop  is  not  to  be  used  when  absolute  sharpness  is 
desired,  as  the  opening  is  so  large  that  few  lenses  will  have  a  good 
"depth  of  focus"  with  it — i.  e.,  only  the  objects  at  the  exact  distance 
focused  will  be  sharp,  those  nearer  to  or  farther  away  being  more  or 
less  "out  of  focus." 

Sharpness  is  extremely  desirable  in  a  picture,  but  what  we  call 
"roundness"  and  "atmosphere"  is  perhaps  fully  as  important.  What 
is  meant  by  these  rather  vague  terms  is  sometimes  puzzling  to  the 
beginner  and  they  are,  perhaps,  best  explained  as  referring  to  that 
quality  in  a  picture  which  gives  the  proper  idea  of  both  distance  and 
perspective — that  quality  which  is  the  opposite  of  the  silhouette;  which 
makes  every  object  appear  in  proper  relation  to  every  other  object  and 
gives  life  and  character  to  the  picture.  "Atmosphere"  and  "roundness" 
we  find  by  practical  experience  are  somewhat  lost  by  using  too  small  a 
stop.  We  should,  therefore,  use  the  largest  opening  which  will  give 
us  a  sharp  picture. 


20  MAKING  THE  EXPOSURES 

SHUTTERS 

The  box  form  cameras  of  our  manufacture  are  equipped  with  the 
Eastman  Rotary  Shutter.  This  shutter  does  not  include  an  iris  dia- 
phragm, the  stop  openings  being  on  a  sliding  plate  and  brought  into 
position  by  means  of  a  lever.  The  shutters  on  the  folding  film  cameras 
are  equipped  with  iris  diaphragms,  the  size  of  the  stop  opening  being 
regulated  by  the  opening  and  closing  of  the  device. 

Graflex  Cameras  are  equipped  with  what  is  termed  a  focal  piano 
shutter.  This  type  of  shutter  is  radically  different  from  both  the 
rotary  and  the  iris  diaphragm  shutters  in  that  it  is  placed  at  the  back 
of  the  camera,  immediately  in  front  of  the  sensitive  film,  instead  of 
just  in  front  or  between  the  lenses.  With  cameras  so  equipped  the 
stop  openings  are  naturally  in  the  lens  barrel  and  entirely  independent 
of  the  shutter. 

The  manuals  accompanying  the  different  cameras  cover  these 
points  fully. 

FOCUSING 

If  your  Kodak  makes  pictures  3J4  x  ^A  inches  or  larger,  you  must 
look  to  your  focusing  as  well  as  to  the  matter  of  light  and  stops.  The 
manual  accompanying  the  camera  explains  how  to  do  this,  but  something 
of  the  reasons  for  the  necessity  of  it  may  be  of  value  to  you.  It  is  our 
intention  to  make  this  book  intensely  practical,  yet  a  little  theory  often 
helps  one  to  the  accomplishment  of  practical  ends. 

Suppose  we  wish  to  make  a  picture  of  an  object  six  feet  away; 
the  focusing  point  would  be  (with  most  lenses  used  in  a  3j^  x  53^ 
camera)  7^  inches  from  the  lens.  Now  again,  should  we  wish  to 
make  a  picture  of  an  object  100  feet  or  more  distant,  we  find  that  the 
focusing  point  will  be  6%  inches  from  the  lens.  So  you  can  readily 
see  that,  with  a  camera  of  that  size,  it  would  be  impossible  to  have  a 
lens  always  set  at  the  same  point  or  distance  from  the  sensitive  surface, 
for  if  the  nearby  objects  were  in  focus  (sharp),  the  distant  ones  would 
be  out  of  focus  (not  sharp),  and  vice  versa,  and  for  that  reason  we  have 
what  is  called  an  "adjustable  focus;"  that  is  the  front  of  the  camera 
or  that  part  which  carries  the  lens,  is  made  so  that  it  can  be  moved  and 
the  distance  of  the  lens  from  the  sensitive  film  or  plate  be  increased  or 
decreased. 


AA  Lens.     C  focus  of  the  rays  of  light  from  object  B. 
E  focus  of  the  rays  from  object  D. 

The  variations  of  focus  is  shown  greatly  exaggerated  in  the  above 
diagram. 


MAKING  THE  EXPOSURES  21 

When  we  say  that  a  camera  is  "in  focus"  it  is  equivalent  to  saying 
that  the  sensitive  surface  of  the  film  or  plate,  when  in  the  camera, 
will  come  in  contact  with  the  rays  of  light  reflected  from  the  subject 
at  this  point  or  the  point  of  focus. 

On  the  Adjustable  Focus  Kodaks  will  be  found  a  little 
To  Focus  scale  marked  with  figures,  usually  from  six  to  one 

hundred,  and  indicating  feet.  (They  are  also  marked 
for  meters.)  You  will  also  find  a  little  pointer  that,  as  you  move 
the  lens  back  and  forth,  will  pass  over  the  scale.  Now  should  you 
wish  to  take  a  picture  of  an  object,  say  fifteen  feet  distant,  you 
will  move  the  pointer  until  it  rests  over  the  figure  15.  This  indicates 
that  the  lens  has  been  brought  to  the  proper  distance  from  the  focal 
plane  (i.  e.,  the  surface  of  film  or  plate)  for  the  focusing  of  objects 
at  a  distance  of  fifteen  feet.  Objects  nearer  by,  or -farther  away,  will 
not  be  absolutely  sharp,  this,  however,  depending  largely  upon  the  size 
of  the  stop  you  are  using.  See  page  18. 

While  the  adjustable  scale  for  all  cameras  up  to  and  including 
4/4  x  6}^  in.,  will,  when  carefully  used,  give  just  as  sharp  pictures 
as  can  be  obtained  by  focusing  on  the  ground  glass,  there  is  some  satis- 
faction to  the  student  of  photography  in  focusing  the  object  on 
the  glass  before  he  sets  out  on  his  photographic  career.  It  shows 
him  what  his  lens  is  doing  and  why  it  impresses  an  image  on  the 
sensitive  film. 

When  used  with  cut  films  or  plates,  the  No.  3,  and  3A  Kodaks 
may  be  focused  on  the  ground  glass,  there  being  a  special  Combination 
Back  and  Focusing  Glass  for  the  purpose,  the  No.  4  Folding  Pocket 
Kodak  takes  a  glass  plate  and  cut  film  adapter  with  focusing  ground 
glass.  However,  for  the  purposes  of  the  study  of  this  question  of 
focus  this  back  is  not  necessary,  as  the  back  of  the  camera  may  simply 
be  removed  and  a  piece  of  ground  glass  laid  against  the  rollers  over 
which  the  film  passes  and  the  picture  may  be  focused  on  this.  Be 
careful,  however,  to  have  the  glass  of  such  size  that  it  may  be  placed 
in  actual  contact  with  the  rollers;  otherwise,  it  will  not  be  in  the  proper 
focal  plane  and  the  lesson  will  be  lost. 

The  experiment  of  looking  at  the  image  on  the  ground  glass  may 
be  similarly  tried  with  the  fixed  focus  Kodaks  and  will  prove  extremely 
interesting  and  instructive  to  the  beginner.  To  accomplish  this,  place 
the  camera  on  a  tripod,  on  the  window  sill  or  on  a  table.  It  will  be 
better  to  focus  on  something  outside  of  the  house  at  first,  as  the  light 
will  be  stronger.  Point  the  camera  at  some  object,  a  tree,  for  instance; 
put  the  ground  glass  in  position,  use  the  largest  stop  and  open  the 
shutter.  With  your  head  about  one  foot  away  and  your  eyes  on  a  level 
with  the  camera,  take  a  piece  of  black  or  dark  cloth  and  place  over 
your  head  and  back  part  of  the  camera,  thus  cutting  off  all  light  except 
that  entering  through  the  lens.  Do  not  try  to  look  through  the  ground 
glass,  but  at  it.  In  a  few  seconds,  or  when  your  eyes  get  accustomed 
to  the  darkness,  you  will  see  a  picture  on  its  surface.  The  picture  or 
image  you  see  will  be  just  what  you  would  get  on  the  sensitive  surface 
of  your  film  or  plate.  You  will,  however,  notice  that  the  picture  is 
inverted  or  upside  down.  This  may  excite  your  curiosity  but  will 
explain  itself  by  the  aid  of  the  following  diagram: 


22  MAKING  THE  EXPOSURES 

The  rays  of  light  from  "A"  passing  in  a  straight  line  through  "B" 
until  they  are  interrupted  by  "C,"  on  which  they  strike,  form  an  inverted 
image  of  the  object  "A." 

Now  move  the  lens  back  and  forth  until  the  tree  is  sharply  defined 
on  the  ground  glass.  When  the  lens  is  at  just  the  proper  distance 


Let  A  represent  a  tree. 

B  the  lens. 

C  the  ground  glass  or  focusing  screen. 

D  the  camera. 

from  the  ground  glass,  the  object  will  be  as  "sharp  as  a  needle"  even 
if  the  largest  stop  be  used.  Now  focus  on  objects  at  other  distances. 
First,  on  an  object  one  hundred  feet  or  more  away  and  then  on  an 
object  only  eight  feet  away.  You  will  notice  that  the  further  away 
the  object,  the  nearer  to  the  focal  plane  (ground  glass)  the  lens  must 
be  in  order  to  give  a  sharp  picture,  and  vice  versa.  And  you  will  notice 
further,  if  you  take  the  trouble  to  carefully  measure  the  distances, 
that  your  ground  glass  tells  the  same  tale  as  your  focusing  scale — in 
other  words,  if  you  focus  on  an  object  25  feet  distant  and  get  it  sharp, 
that  the  pointer  on  the  focusing  scale  will  point  at,  or  nearly  at,  25. 
You  will  also  notice  that  all  objects  from  about  15  to  35  feet  will  be  in 
good  focus. 

Our  factory  methods  of  adjusting  the  focusing  scale  correspond 
closely  to  the  foregoing  paragraph.  To  insure  accuracy,  the  focusing 
scales  are  placed  on  Kodaks  by  actual  focusing.  The  camera  is  placed 
beneath  a  hood,  which  serves  as  a  focusing  cloth  and  cuts  off  all  light 
except  that  entering  through  the  lens.  Incandescent  lights  are  arranged 
at  different  distances,  which  correspond  to  the  figures  on  the  focusing 
scale.  For  instance,  the  camera  is  first  focused  on  a  light  15  feet  away, 
regardless  of  the  scale,  which  is  then  so  placed  on  the  camera  that  the 
15-foot  mark  will  come  directly  underneath  the  pointer.  The  scale 
is  then  fastened  in  position  and  tested  at  other  distances,  the  images 
on  the  ground  glass  being  examined  with  a  magnifying  glass.  Before 
the  camera  is  finally  passed  from  this  department,  an  inspector  makes 
certain  that  the  focusing  scale  corresponds  exactly  with  the  ground 
glass  at  each  distance. 

While  the  shutter  is  open  and  the  ground  glass  is  in  position  it 
will  prove  interesting  and  instructive  to  note  also  the  effect  of  the 
stops.  After  focusing  on  some  object  with  the  largest  diaphragm, 
reduce  the  aperture  and  note  the  decrease  in  light  and  the  increase  in 
sharpness  over  the  entire  picture.  There  may  be  no  marked  increase 
in  sharpness  of  the  particular  object  on  which  you  have  focused,  but 
nearer  and  further  objects  will  be  sharpened  in  a  remarkable  degree. 


MAKING  THE  EXPOSURES  23 

Remember  this  point  later.     The  above  experiment  with  stops  may 
also  be  tried  with  the  fixed  focus  cameras. 

Having  now  something  of  the  theory  of  photography,  you  are 
prepared  to  make  your  first  negatives.  Read  carefully  the  instructions 
on  the  making  of  snapshots  and  time  exposures  given  in  the  following 
pages;  haying  also  read  carefully  the  instructions  for  operating  your 
camera,  which  are  given  in  the  manual  accompanying  it,  you  are  ready 
to  go  out  and  make  some  negatives.  We  advise  snapshot  work  to 
begin  with,  but  you  should  be  sure  to  pick  out  for  your  first  work  a 
day  when  the  light  is  strong  and  brilliant,  that  your  first  batch  of 
negatives  may  be  fully  timed. 

SNAPSHOTS 

Instantaneous  exposures  or  "snapshots,"  as  they  are  more  frequently 
called,  are  usually  made  while  the  camera  is  held  in  the  hand  and  are 
about  the  first  thing  that  the  amateur  attempts.  Some  learned  writers 
deprecate  this,  but  as  snapshots  are  the  simplest  exposures  to  make 
and  ordinarily  the  simplest  to  develop,  because  most  likely  to  be  cor- 
rectly timed,  we  believe  the  amateur  should  begin  his  photographic 
career  with  this  class  of  work. 

Before  making  an  exposure,  either  time  or  instantaneous,  be  sure 
of  four  things : 

First — That  the  shutter  is  adjusted  properly.  (For  time  or 
instantaneous  exposures  as  desired.) 

Second — That  the  diaphragm  lever  is  placed  at  the  proper  opening. 

Third — That  an  unexposed  section  of  film  is  in  position,  or  that  an 
unexposed  plate  is  in  position  and  that  the  dark  slide  has  been 
removed. 

Fourth — Unless  the  camera  has  a  fixed  focus  see  that  it  is  properly 
focused  on  the  principal  object  to  be  photographed. 

When  making  instantaneous  pictures  the  object  must  be  in  the  broad, 
open  sunlight,  but  the  camera  should  not  be.  The  sun  should  be 
behind  the  back  or  over  the  shoulder  of  the  operator.* 

Set  the  focus  by  placing  the  pointer  over  the  figures 
Set  the  in  feet,  on  the  focusing  scale  nearest  the  estimated  dis- 

Focus  tance  of  the  principal  object  to  be  photographed. 

It  is  not  necessary  to  estimate  the  distance  with  any 
more  than  approximate  accuracy.  For  instance,  if  the  focus  is  set 
at  25  feet  (the  usual  distance  for  ordinary  street  work),  the  sharpest 
part  of  the  picture  will  be  the  objects  at  that  distance  from  the  camera, 
but  everything  from  about  15  to  35  feet  will  be  in  good  focus.  For 
general  street  work  the  focus  may  be  kept  at  25  feet,  but  where  the 
principal  object  is  nearer  or  farther  away  the  focus  should  be  moved 
accordingly. 


*NOTE — Effective  pictures  may  frequently  be  made  by  working  toward  the 
sun,  shading  the  lens  to  keep  out  direct  sunlight  when  so  doing,  but  the  amateur  should 
not  attempt  such  work  at  the  start. 


21 


MAKING  THE  KXI'OSI'KKS 


When  using  the  No.  1A  or  the  3 A  Autographic  Kodak  Special, 
the  Kodak  Range  Finder  should  he  used  according  to  instructions 
that  accompany  these  Kodaks. 

It  is  imperative  that  a  large  stop  be  used  in  making 
Use  the  snapshots.  With  most  cameras  the  largest  stop  must 

Proper  Stop  he  used  under  ordinary  conditions  with  bright  sunlight. 

This  is  the  case  with  all  of  the  single  lens  Kodaks. 
With  the  double  lens  Kodaks  use  U.  S.  8  or/.ll.  See  page  18. 

This  size  stop  must  be  used  for  snapshots  except  where  the  sunlight 
is  unusually  strong  and  there  are  no  heavy  shadows,  such  as  views 
on  the  water,  or  extremely  distant  views  or  landscapes  with  clear  sky 
overhead,  when  the  smaller  stop  may  be  used. 

The  smallest  stop  must  never  be  used  for  snapshots  or  absolute 
failure  will  result. 

Hold  the  camera  steady  and  locate  the  image  in  the 
Locate  the  finder.  This  gives  the  exact  scope  of  view  and  shows 
Image  on  a  reduced  scale  just  what  will  be  in  the  picture — 

no  more,  no  less. 

MAKING  INSTANTANEOUS  EXPOSURES 

Hold  the  camera  firmly  against  the  body,  as  shown  in  illustrations, 
and  when  operating  the  cable  release  or  pressing  the  exposure  lever, 
hold  the  breath  for  the  instant.  The  least  jar  will  cause  a  blurred 
negative. 


MAKING  THE  EXPOSURES 


The  camera  must  be  held  level. 

Hold  the  If  the  operator  attempts  to  photograph  a  tall  building, 

Camera  while  standing  near  it,  by  pointing  upward  (thinking 

Level  thereby  to  center  it),   the  result  will  be  similar  to 

the  illustration  below.  When  making  this  picture  the 
camera  was  pointed  too  high.  The  building  should  have  been  taken 
from  a  building  opposite  and  at  a  level  corresponding  with  the 
middle  of  the  subject. 

The  operator  should  hold  the  camera  level,  after  withdrawing  to 
a  proper  distance,  as  indicated  by  the  image  shown  in  the  finder.  Some 
cameras  are  equipped  with  a  rising  and  sliding  front  to  assist  in  taking 
the  tops  of  tall  buildings.  See  page  26. 


Effect  produced  by  tilting  carr 


2(1 


MAKING  THE  EXPOSURES 


THE  RISING  AND  SLIDING  FRONT 

Occasionally  in  the  taking  of  photographs  of  buildings  or  in  landscape 
photography  it  is  found  that  the  subject  cannot  all  be  readily  included 
except  by  tilting  the  camera,  which  would  produce  the  undesirable 
results  shown  on  page  25.  To  assist  in  correcting  this  fault  some 
cameras  arc  provided  with  a  rising  front,  which  may  be  utilized  in 
cutting  out  an  undesirable  foreground  or  to  assist  in  taking  the  top 
of  a  high  building,  etc.  To  illustrate  this  we  take  the  No.  3A  Folding 
Pocket  Kodak,  which  is  manipulated  as  follows: 

Fig.  1  shows  how  to  raise  or 
lower  the  front  when  making 
vertical  exposures.  Press  the 
smaller  milled  head  on  the  right- 
hand  side  of  the  front,  and  raise 
or  lower  the  front  by  turning 
the  larger  milled  head.  When 
the  front  is  at  the  desired  height 
let  the  milled  head  spring  back 
into  its  original  position.  This 
will  lock  the  front  in  place. 
When  through  using  press  the 
milled  head  and  center  the  lens 
by  moving  the  front  up  or  down, 
as  the  case  may  be.  When  the 
center  position  is  reached  the 
milled  head  locks  automatically. 

The  front  can  be  moved  to 
the  right  or  left  (up  and  down 
when  Kodak  is  placed  on  its  side 


c 

I 


FIG   1. 


for  horizontal  exposure)  by  loosening 
thumb  screw  directly  under  the 
shutter  and  pressing  release  catch 
as  shown  in  Fig.  II,  and  sliding 
front  in  either  direction  to  the  de- 
sired position.  Lock  in  position  by 
tightening  thumb  screw.  When 
through  using,  reverse  the  operation 
shown  in  Fig.  II,  and  slide  back 
to  the  center  and  lock  in  position. 
^  ,,^_  In  order  to  make  a  sharp  picture 

^^~  when  using  the  rising  front  it  will 

be  better  to  use  a  small  stop,  and  as 

^.  this  in  turn  necessitates  a  time  ex- 

posure, a  tripod  or  other  firm  sup- 
port must  be  provided.  Experience 
alone  can  teach  the  many  ways  in 
which  the  rising  and  sliding  front 
may  be  used  for  composing  artistic 
pictures. 

Before  closing  the   camera  see 
that  the  front  is  properly  centered, 
otherwise  there  is  danger  of  damaging  the  bellows  when  folding. 


FIG.  2. 


MAKING  THE  EXPOSURES 


27 


THE  AUTOGRAPHIC  KODAK 

The  Autographic  Kodak  used  with  the  Autographic  Film  Cartridge 
offers  the  great  advantage  of  making  the  date  and  title  a  part  of  the 
negative — and  at  the  time.  It  forms  an  indisputable  record  that 
will  be  appreciated  more  and  more  as  the  years  go  by.  Many  of  our 
pictures  tell  the  "where"  and  "who"  but  the  more  important  question 
"when"  can  only  be  guessed  at.  Even  when  the  title  of  a  picture 
is  obvious  the  date  should  always  be  put  on  as  a  matter  of  record  for 
future  certainty  and  satisfaction. 


The  Autographic  Kodak  has  a  spring  or  a  sliding  door  in  the  back, 
which  covers  a  narrow  slot  through  which  the  writing  is  done  (with  stylus 
provided  for  the  purpose)  on  the  red  paper  protecting  the  film.  This 
slot  is  so  placed  that  the  title  appears  in  the  margin  between  the  expo- 
sures, but  if  it  is  desired  to  place  the  title  on  the  picture  itself,  a  slight 
turn  of  the  spool  key  will  bring  it  into  that  position.  If  two  lines  of 
data  are  to  be  written,  one  can  be  placed  in  the  margin  and  the  other 
on  the  picture,  or  both  may  be  written  on  the  picture,  if  so  desired. 
Of  course  the  lower  line  must  be  written  first.  Such  titling  would 
appear  on  the  bottom  of  an  upright  picture,  or  at  the  left-hand  end  of  a 
horizontal  picture. 


Negative  with  Autographic  Record 


28  MAKING  THE  EXPOSURES 

The  Autographic  Film  Cartridge  differs  from  the  regular  N.  C. 
Film  Cartridge  in  this  respect.  A  thin  red,  instead  of  the  familiar 
red  and  black  (duplex)  paper  is  used.  This  red  paper,  in  itself,  is 
not  fully  light-proof,  but  between  it  and  the  film  is  a  thin  strip  of  black 
displacing  tissue.  This  tissue  serves  the  double  purpose  of  light- 
proofing  the  cartridge  and  of  permitting  the  recording,  by  light,  of 
writing  upon  the  film.  When  the  data  has  been  written  on  the  red 
paper  and  printed  (by  exposing  with  the  door  open  to  the  sky  for  from 
two  to  five  seconds)  the  image  is  photographically  impressed  on  the 
film  and  appears  when  the  film  strip  is  developed.  In  making  the 
prints  the  title  may  readily  be  shown  upon  the  print  itself,  the  letters 
appearing  in  white  upon  a  black  background  in  the  margin,  or  it  may 
be  omitted  from  the  print,  remaining,  however,  as  a  permanent  record 
for  reference  in  the  negative. 

The  process  of  development  of  the  Autographic  Film  Cartridge 
is  exactly  the  same  as  with  the  Kodak  N.  C.  Film  Cartridge. 

Autographic  Kodaks  may  be  used  with  the  regular  Kodak  N.  C. 
Film  Cartridges.  The  other  models  of  Kodaks  may  be  used  with 
Autographic  Cartridges,  but  to  get  Autographic  results,  you  must 
use  an  Autographic  Kodak  and  Autographic  Film. 

To  the  tourist,  to  the  keeper  of  the  family  album,  to  the  careful 
photographer  who  wants  a  record  of  the  conditions  under  which  his 
pictures  were  made,  to  the  surveyor,  the  contractor,  the  engineer, 
the  Autographic  Kodak  marks  the  most  important  advance  that  has 
been  made  in  photography  in  a  score  of  years. 

THE  AUTOGRAPHIC  RECORD  AS  A  GUIDE 

Many  amateurs  have  distinctly  improved  the  quality  of  their 
work  by  making  notes,  at  the  time  of  exposure,  of  the  prevailing  condi- 
tions. As:  Bright  light,  1-25  sec.,  stop  No.  8.  which,  by  the  way, 
can  be  easily  abbreviated  to:  B  1-25,  8.  By  keeping  such  records 
the  amateur  can  quickly  find  the  causes  of  failure,  if  any.  By  comparing 
negatives  and  records  he  will  soon  discover  his  errors  and  when  he 
knows  what  his  errors  are,  he  can  easily  rectify  them.  It  is  obvious 
that  the  best  way  to  make  these  records  is  autographically — on  the 
film,  at  the  time. 


Picture  Takim 


HAVING  familiarized  yourself  with  the  operation  of  your  camera 
and  its  various  parts,  and  studied  carefully  the  sections  devoted 
to  the  use  of  stops  and  exposure,  the  practical  test  comes  in  the 
taking  of  the  actual  picture. 

There  are,  of  course,  subjects  everywhere  for  your  camera,  but  we 
would  suggest  beginning  on  simple,  well-illuminated  landscapes,  keeping 
a  careful  record  as  to  the  time  of  day,  stop  opening  and  exposure. 
(See  page  28.)  By  so  doing  you  will  not  only  be  able  to  correct  the 
errors  in  your  early  efforts  but  will  have  a  practical  knowledge  of 
exposure  that  will  be  of  material  value  in  the  solving  of  the  more  complex 
problems  of  indoor  work.  It  will  be  well  to  bear  in  mind  that  for  all 
worl^,  including  objects  in  motion,  sunlight  is  necessary.  The  nearer 
the  object  to  be  photographed  is  to  the  camera  the  more  rapid  must 
be  the  working  of  the  shutter. 

PHOTOGRAPHING  MOVING  OBJECTS 

In  most  instances  where  the  beginner  attempts  the  photographing 
of  moving  objects,  the  result  will  be  disappointing.  This  is  due  solely 
to  his  lack  of  appreciation  of  the  circumstances  and  the  actual  conditions 
confronting  him.  For  example,  he  takes  his  camera  to  the  race  track 
to  photograph  a  friendly  brush  between  local  trotters. 

Securing  a  position  just  under  the  wire  he  waits  for  the  finish, 
and  as  the  horses  rush  by  at  a  2:10  clip  he  snaps  them  broadside  from 
a  distance  of  ten  feet,  and  fails  to  understand  why  the  negative  should 
show  nothing  but  a  blur,  for  he  will  have  nothing  else.  The  reason 
for  his  failure  is  this:  if  he  has  a  double  lens  instrument  with  Kodak 
Ball-bearing  Shutter  it  has  worked  in  approximately  l/5o  of  a  second,  an 
apparently  very  short  space  of  time,  but  we  find  on  figuring  it  out 
that  a  horse  covering  a  mile  in  2:10  covers  40  feet  and  8  inches  in  one 
second  of  time  or  over  nine  inches  in  %0  of  a  second,  the  time  the  shutter 
is  open — a  sufficient  distance  to  make  a  most  decided  blur.  The 
distance  the  image  will  move  on  the  plate  during  exposure  is  to  the 
distance  the  object  moves,  as  the  focal  length  of  the  lens  is  to  the  distance 
from  lens  to  object.  In  this  case  we  will  suppose  the  focus  of  the  lens 
to  be  six  inches,  and  we  know  the  distance  from  lens  to  object  to  be  ten 
feet  (120  inches)  and  the  distance  the  object  moves  approximately 
nine  inches.  We  will  let  X  stand  for  distance  image  moves  on  plate 
and  it  gives  us  the  following  equation:  X  :  9  :  :  6  :  120 — */\o.  It  is 
obvious  that  if  the  object  moves  4/{Q  of  an  inch  on  the  plate  the  picture 
will  be  ruined.  We  find  then  that  in  order  to  take  pictures  of  moving 
objects  at  right  angles  there  are  two  factors  of  prime  importance — 
the  speed  of  the  shutter  and  the  distance  from  the  object.  In  the 
ordinary  amateur  outfit  the  shutter  speed  is  about  }so  of  a  second, 
although  the  Special  Kodaks  and  cameras  fitted  with  Anastigmat  lenses 
have  shutters  working  at  a  speed  of  l/\oo  and  up  to  %oo  of  a  second.  We 
must,  therefore,  get  further  away  from  the  subject,  since  experience 


30 


OUTDOOR  WORK 


has  shown  that  to  get  successful  pictures  of  rapidly  moving  horses, 
autos,  etc.,  from  nearby  positions  and  at  right  angles,  the  shutter  must 
have  a  speed  of  from  Koo  to  Mooo  of  a  second,  and  these  high  speeds  call 
for  cameras  fitted  with  focal-plane  shutters  to  operate  at  these  high 


An  Anastigmat  lens  with  an  aperture  of,  say  f.6.3,  is  about  sixty 
per  cent,  faster  than  a  Rapid  Rectilinear  lens  and  will  require  a  shutter 
working  at  about  %0o  of  a  second  to  arrest  moderately  fast  motion 
and  get  a  correctly  exposed  negative  in  good  light. 

I 1          But  there  are  tricks  in  all 

trades,  and  satisfactory  pic- 
tures of  rapidly  moving 
objects  can  be  made  by 
photographing  them  from  a 
position  partly  in  front  as 
well  as  from  a  reasonable 
distance.  The  accompanying 
picture  of  the  Empire  State 
Express,  traveling  at  full 
speed,  shows  plainly  what  can 
be  done  in  this  direction.  It 
was  made  with  a  Pocket 
Kodak  from  a  point  about 
one  hundred  feet  from  the 
spot  where  the  train  passed  and  somewhat  ahead  of  it.  By  following 
this  method  the  amateur  can  soon  learn  to  take  pictures  of  rapidly 
moving  objects  and  in  such  a  manner  as  to  largely  avoid  the  disagreeable 
blurring.  Of  course,  it  will  be  appreciated  that  a  few  attempts  may 
have  to  be  made  before  an  express  train  can  be  properly  located  on 
the  finder  and  the  shutter  released  at  the  proper  moment  to  include 
all  the  train  in  the  negative,  sixty  miles  an  hour  being  equal  to  a  thousand 
inches  per  second. 

In  ordinary  snapshot  work,  with  comparatively  slow  exposures, 
the  length  of  exposure  is  considered  as  the  most  important  factor, 
and  while  this  is  essential  in  photographing  rapidly  moving  objects, 
the  most  important  factor  is  the  speed  of  the  moving  object,  because 
the  negative  of  this  object  must  be  sharp  to  be  of  any  value.  Further, 
it  is  not  the  actual  speed  of  the  moving  object,  but  the  speed  with 
which  its  image  moves  across  the  face  of  the  film,  and  this  speed  is 
increased  or  diminished  according  to  the  angle  of  movement  in  relation 
to  the  lens.  To  make  this  point  clear,  let  us  take  a  man  running,  at  a 
distance  of  twenty-five  feet.  If  the  line  of  movement  is  across  the 
field  at  right  angles  to  the  lens,  the  movement  across  the  film  will  be 
very  rapid,  but  if  towards  the  lens  the  motion  of  the  image  is  very 
slight.  Unless  for  some  special  purpose  better  negatives  and  better 
pictorial  effects  are  produced  by  photographing  from  an  angle  of  45 
to  60  degrees.  The  user  of  the  focal-plane  shutter  must  bear  in  mind 
that  the  shutter  curtain  aperture  has  nothing  whatever  to  do  with  the 
depth  of  focus.  The  shutter  is  concerned  with  the  speed  of  the  exposure 
only,  and  whatever  the  aperture  in  the  curtain,  it  will  have  no  influence 
as  to  the  depth  of  focus.  It  is  the  lens  aperture  that  concerns  the 


OUTDOOR  WORK  31 

depth  of  field.  This  aperture  is  regulated  by  means  of  iris  diaphragm 
or  stops,  as  stated  on  page  18.  The  size  of  the  aperture  of  the  stop 
determines  the  depth  of  focus  of  the  lens,  that  is,  the  sharpness  of 
definition  of  objects  at  varying  distances  from  the  camera,  and  it  also 
necessarily  determines  the  volume  of  light  that  passes  through  the  lens 
in  a  given  period  of  time.  The  smaller  the  aperture  of  the  lens,  the 
greater  the  depth  of  focus,  but  the  weaker  the  volume  of  light.  There- 
fore, in  making  very  rapid  exposures  with  the  focal-plane  shutter,  it  is 
necessary  to  use  a  small  curtain  'aperture  to  obtain  sufficient  speed 
to  arrest  motion,  and  at  the  same  time  the  largest  permissible  lens 
diaphragm  to  admit  the  greatest  possible  volume  of  light  in  order  that 
the  image  be  recorded  in  sufficient  strength  on  the  sensitive  film  to 
produce  a  good  negative.  In  making  slow,  instantaneous  exposures 
a  larger  curtain  aperture  may  be  employed,  and  if  the  light  is  strong,  a 
smaller  lens  diaphragm,  to  increase  the  depth  of  focus  and  secure  greater 
definition. 

For  the  photographing  of  subjects  moving  with  extreme  rapidity, 
or  that  must  be  taken  in  close  proximity  to  the  camera,  often  requiring 
exposures  as  fast  as  l/iooo  of  a  second,  a  Graflex  camera  is  indispensable. 
Especially  designed  for  high-speed  work,  it  is  equipped  with  the  Graflex 
Focal  Plane  Shutter,  built  into  the  body  of  the  camera  and  operating 
as  closely  as  possible  to  the  face  of  the  plate  or  film  when  in  position  for 
exposure.  Very  rapid  motion  can  be  arrested  even  when  working  at 
close  range. 

The  focal-plane  shutter  of  the  Graflex  type  is  the  most  efficient 
photographic  shutter.  It  is  built  into  and  becomes  part  of  the  camera.' 
Its  curtain,  with  a  number  of  fixed  openings  ranging  from  the  full 
size  of  the  negative  to  an  eighth  of  an  inch  in  width,  passes  over  the 
plate  or  film.  The  length  of  exposure  is  regulated  by  the  size  of  the 
opening  and  the  speed  with  which  it  moves  across  the  focal  plane. 
The  smallest  opening  traveling  at  the  highest  speed  is  adjusted  to 
give  an  exposure  of  >looo  of  a  second.  As  the  opening  is  increased  and 
the  speed  decreased  the  time  of  exposure  is  increased,  and  speeds  varying 
from  YIOOQ  to  Mo  of  a  second  can  be  given  automatically. 

It  is  not  so  much  the  actual  speed  of  the  object  as  the 
Speed  apparent  movement  with  which  the  image  of  the  object 

Factors  passes  across  the  surface  of  the  film.    This  movement 

is  determined  by  the  actual  speed  of  the  object,  the  angle 
of  movement  to  the  lens,  the  distance  of  the  object  from  the  lens,  and 
the  focal  length  of  the  lens. 

When  these  factors  are  known  it  is  a  simple  problem  to  determine 
the  movement  of  the  image  over  the  surface  of  the  film  and  how  fast 
the  shutter  must  travel  to  arrest  motion. 

The  same  conditions  that  determine  the  apparent  speed  also  decide 
the  size  of  the  image,  so  that  a  modification  of  one  factor  of  necessity 
influences  the  others. 

It  has  been  demonstrated  that  in  high-speed  work,  the 
Size  of  best  results  are  secured  where  the  image  of  a  man  is 

Image  about  one  and  one-half  inches  in  height,  while  the  image 

of  a  rapidly  moving  horse  should  not  exceed  one  inch  from 
shoulder  to  hoof. 


32  OUTDOOR  WORK 

In  attempting  to  arrest  rapid  motion  with  a  larger  image  you  have 
to  sacrifice  both  time  of  exposure  and  depth  of  field  in  the  attempt 
to  arrest  motion. 

The  distance  of  the  object  when  the  photographer 
Distance  can  control  it,  is  naturally  largely  determined  by  the 

of  Object  size  of  the  image  wanted  and  the  focal  length  of  the 

lens  used. 

When  the  distance  is  beyond  the  operator's  control,  his  only  remedy 
is  to  use  a  lens  of  suitable  focal  length. 

In  ordinary  photography,  the  photographer  soon  learns 
Depth  of  that  the  smaller  the  lens  diaphragm,  the  greater  the 

Lens  Field  depth  of  field.  In  high-speed  work  it  is  necessary  to 

secure  the  greatest  possible  illumination,  entailing  the 
use  of  a  large  lens  opening  which  limits  the  depth  of  field. 


The  Hurdle  Race 

In  high-speed  work,  it  is  not  possible  to  secure  perfect  definition 
of  all  objects  in  the  field  and  the  photographer  must  be  content  with 
securing  perfect  definition  in  the  portion  containing  the  greatest  interest. 

An  important  fact  is  this — that  no  matter  what  the  focal  length 
of  the  lens  used,  if  the  photographer  will  be  content  with  an  image 
\%  inches  in  height  he  will  get  sufficient  depth  with  the  largest  aperture 
of  his  lens. 

It  is  only  when  dealing  with  unusual  subjects,  such  as  large  or 
extended  groups,  that  it  may  be  necessary  to  determine  the  largest 
stop  that  can  safely  be  used  and  still  retain  good  definition. 


OUTDOOR  WORK  33 


SUBJECTS 

Action  in  the  ordinary  amusements  of  children  is 
Children  comparatively  slow,  and  extremely  short  exposures 

at  Play  are  unnecessary,  and  in  but  rare  instances  will  a  shutter 

speed  higher  than  y\oo  of  a  second  be  required.  As 
children  average  about  one-half  the  height  of  an  adult,  to  obtain  an 
image  one  and  one-half  inches  high  it  will  necessitate  working  somewhat 
closer  to  the  subject.  This  naturally  lessens  the  depth  of  the  field, 
making  it  necessary  to  use  a  smaller  stop,  about /.8  for  small  groups. 

Taken  in  an  ordinary  room,  within  six  feet  of  a  window 
Children's  open  to  the  clear  sky,  portraits  of  children  in  light- 
Portraits  colored  dresses  may  be  taken  with  the  largest  stop  of 
,  the  lens,  with  an  exposure  of  from  one  to  three  seconds. 
Out  of  doors,  select  a  shaded  -spot,  and  give  an  exposure  of  from  #o 
to  2*5  of  a  second. 

It  must  be  taken  into  consideration  that  when  a  man 
Foot  Races  runs  100  yards  in  ten  seconds,  this  is  true  of  his  body 

only,  and  that  his  feet  are  traveling  twice  as  fast.  So 
in  calculating  the  shutter  speed  it  must  be  decided  whether  or  not  the 
entire  image  of  the  runner  is  to  be  perfectly  sharp. 

With  the  lens  of  8%  inch  focus,  runners  should  be  photographed 
at  a  distance  of  35  feet,  and  if  they  are  moving  at  right  angles  to  the 
lens,  a  shutter  speed  of  #00  of  a  second  will  render  the  body  perfectly 
sharp,  but  the  feet  will  not  be  perfectly  defined.  To  get  the  entire 
image  perfectly  sharp  an  exposure  of  ^400  of  a  second  would  be  required. 

For  the  best  results,  both  pictorial  and  mechanical,  photograph 
your  subjects  at  an  angle  of  about  45  degrees  to  the  lens;  the  exposures 
will  then  be  >soo  and  }iooo  respectively. 

For  long  races,  a  slightly  slower  shutter  speed  is  permissible,  but 
the  largest  stop  of  the  lens  must  always  be  used. 

If  the  ball  is  the  objective,  use  the  fastest  speed  and 
Baseball  the  distance  between  it  and  the  player  must  be  50% 

and  Tennis  greater  than  when  the  player  is  the  object.  When 

possible  select  a  point  in  which  the  ball  travels  directly 
toward  or  away  from  the  lens. 

A  base  runner  should  be  considered  as  moving  as  swiftly  as  a  hun- 
dred-yard sprinter.  At  bases  the  movement  is  comparatively  slow, 
and  about  >soo  of  a  second  exposure  will  be  sufficient. 

Owing  to  the  similarity  of  action,  what  has  been  said  of  baseball 
applies  equally  well  to  tennis,  except  that  in  tennis  the  action  ;is  not 
quite  so  rapid. 

Horse  Such  subjects  should  be  handled  in  the  same  manner 

Racing  as    a    man    running    because    a    horse's    hoof,    when 

off  the  ground,  moves  twice  as  fast  as  his  body. 


34  OUTDOOR  WORK 

Photograph  when  possible  at  an  angle  of  45  degrees  to  the  lens. 

Trains  should  be  handled  at  a  distance  of  not  less 
Fast  Trains  than  100  feet,  so  as  to  include  the  whole  train.  Best 
and  results  are  obtained  at  an  angle  of  45  degrees  or  less 

Automobiles  toward  the  camera.  At  45  degrees  }£oo  of  a  second 

will  arrest  the  movement  on  the  film  of  a  train  moving 
at  35  miles  an  hour,  while  }4oo  will  be  enough  for  one  traveling  at  the 
rate  of  60  miles.  Double  these  speeds  if  sharp  definition  of  the  wheels 
is  required. 

An  automobile  may  be  considered  as  a  locomotive,  and  shutter 
speeds  figured  accordingly.  At  an  angle  of  45  degrees,  the  slower 
machines  may  be  taken  at  a  distance  of  fifty  feet,  with  an  exposure 
of  Yiooo  of  a  second. 

For  higher  speeds,  it  is  better  to  increase  the  distance  in  proportion 
to  the  speed  of  the  machine,  rather  than  to  depend  on  a  faster  shutter 
speed. 

Simply  because  your  lens  has  a  large  opening  do  not  feel  that  you 
must  use  it.  On  the  other  hand,  for  the  sake  of  increased  depth  of 
focus — i.  e.,  sharpness  in  both  near  and  far  objects,  use  the  smallest 
opening  that  will  give  a  fully  timed  negative.  Don't  use  buck-shot  for 
shooting  quail — you  will  be  more  likely  to  get  quail  with  bird-shot. 
The  small  opening  covers  a  multitude  of  errors  in  focusing. 


Street  Photography 

THE  successful  picturing  of  street  scenes  requires  both  thought 
and  skill  on  the  part  of  the  amateur.  He  must  bear  in  mind  that 
he  will  have  to  work  quickly  and  quietly,  attracting  as  little 
attention  as  possible,  and  he  must  be  able  to  take  in  a  pleasing  and 
interesting  situation  at  a  glance. 

This  class  of  work  demands  perfect  understanding  of  all  the  workings 
of  the  camera,  the  ability  to  level  and  focus  quickly,  and  to  expose  the 
instant  the  conditions  are  right. 

The  ability  to  level  the  camera  quickly  and  accurately  is  particularly 
important,  as  in  most  instances  the  architecture  of  the  surrounding 
buildings  will  show,  and  if  the  camera  is  not  level,  the  building  lines  will 
be  anything  but  pleasing. 

A  good  many  pictures  of  street  scenes  show  that  a  number  of  persons 
were  looking  at  the  camera  when  the  exposure  was  made.  For  instance, 
take  a  group  of  youngsters  interested  in  some  game,  their  action, 
intensity  and  unconsciousness  is  what  makes  the  picture.  Let  them 
become  aware  of  your  purpose,  the  game  stops  and  all  stare  at  the 
camera,  thus  spoiling  the  opportunity  for  a  successful  bit  of  work. 


The  holding  of  the  camera  during  exposure  is  also  important.  Many 
pictures  show  that  the  point  of  view  from  which  they  were  taken  was 
too  low. 

The  distance  upward  from  the  group  or  object  upon  which  we 
stand  to  the  level  of  the  eyes,  or  the  point  of  view  from  which  we  see 
our  subject  will  range,  in  most  cases,  from  four  and  one-half  to  five  and 
one-half  feet. 

Now  if  we  hold  the  camera  ten  inches  or  so  above  our  knees  it  can 
readily  be  seen  that  the  point  of  view  is  radically  changed,  and  that 
the  effect  produced  upon  the  eye  might  be  entirely  lost  if  taken  from 
that  position.  The  proper  place  is  against  the  chest,  or  as  high  as 
we  can  manage  it  and  still  see  what  is  in  the  finder. 


I 


Landscape   Photography 

N  TAKING  up  the  actual  making  of  the  picture  we  purposely 
began  with  the  photographing  of  moving  objects,  as  such  subjects 
are  so  frequently  encountered  in  landscape  work. 

By  familiarizing  yourself  with  this  subject  you  are  forewarned 
and  forearmed  as  to  both  the  limitations  and  possibilities  of  whatever 
equipment  you  are  using. 

In  landscape  photography  we  advise  against  the  introduction  of 
human  figures,  as  in  nearly  all  cases  they  fail,  either  in  costume  or  in 
pose,  to  harmonize  with  your  subject. 

The  domestic  animals,  such  as  horses,  cows  and  sheep,  can,  however, 
frequently  be  introduced  with  success. 

When  human  figures  are  introduced,  avoid  having  them  look  directly 
at  the  camera  and  see  that  they  harmonize  with  your  pictures  in  pose, 
or  in  action. 

The  physical  side  of  the  picture  making,  exposure  and  development 
is  much  more  easily  mastered  than  the  artistic. 

While  it  is  true  that  there  are  some  few  individuals  possessed  of  an 
inherent  sense  of  the  artistic,  most  of  us  have  to  give,  in  advance, 
considerable  study  and  thought  before  we  can  produce  results  even 
bordering  on  the  artistic. 

To  fully  cover  the  subject  of  artistic  composition  would  require 
more  pages  than  are  devoted  to  this  entire  book,  but  we  can,  in  a  general 
way,  offer  suggestions  that  will  greatly  aid  in  avoiding  or  overcoming 
most  of  the  errors  apparent  in  unstudied  work. 

The  great  secret  of  artistic  work  is  simplicity,  the  avoidance  of 
overcrowding,  and  the  employment  of  the  fewest  lines  and  masses  in 
the  composition  of  your  picture.  Next  in  rank  to  simplicity  is  harmony 
and  balance,  and  without  these,  artistic  composition  is  impossible, 
and  in  this  connection,  it  may  not  be  necessary  to  state  that  the  fewer 
elements  that  enter  into  your  picture,  the  easier  it  will  be  to  bring 
them  into  harmony  and  balance. 

One  of  the  faults  most  often  seen  in  the  work  of  the  beginner  in 
photography  is  the  desire  to  include  too  much  within  the  confines  of 
the  picture.  There  is  frequently  material  for  two,  or  even  more, 
complete  pictures  crowded  into  one,  with  the  result  that  the  eye  wanders 
confusedly  from  one  point  to  another,  producing  a  sense  of  irritation 
rather  than  that  of  pleasure. 

First,  have  a  reason  for  making  your  picture — either  to  preserve 
a  record  of  some  interesting  place  or  occasion,  to  picture  the  beauty 
of  some  bit  of  land  and  sky,  or  to  produce  a  picture  appealing  to  the 
observer  by  its  beauty  of  line  or  tone. 


OUTDOOR  WORK  37 

A  successful  picture  may  combine  all  of  these  qualities,  but  one 
is  always  dominant  and  there  should  never  be  any  question  as  to  why 
it  was  made. 

Composition  is  not  an  exact  science  that  can  be  depended  upon 
mechanically  to  produce  results.  We  can,  nevertheless,  apply  sufficient 
of  its  general  principles  that,  together  with  the  study  of  good  pictures, 
we  will  be  aided  materially  in  avoiding  the  inartistic.  Bringing  things 
together  in  an  orderly  and  symmetrical  arrangement  is  perhaps  as 
good  a  definition  of  composition  as  any. 

Selection  must,  however,  precede  composition,  and  the  first  lesson 
to  be  learned  is  to  leave  out  what  is  not  required.  Examine  any  one 
of  your  earlier  attempts  at  landscape  making  and  you  will  find  that  your 
negative  includes  a  whole  lot  of  unnecessary  things  that  you  failed  to 
observe.  In  this  matter  of  selection,  a  good  rule  is  to  seek  first  a  good 
foreground,  one  that  will  lead  you  unobtrusively,  yet  pleasantly,  up 
to  the  principal  object  in  your  picture. 

Choose  your  view  point  carefully,  remembering  that  while  the 
painter  can  eliminate  what  he  desires,  you  have  an  almost  equal  advan- 
tage in  that  you  can  move  your  camera  to  the  right  or  left,  up  or  down, 
to  focus  on  a  different  plane,  and  with  different  stop  openings,  to  secure 
the  effect  you  desire. 

In  perfecting  your  composition  the  following  underlying  principles 
must  be  observed: 

Your  picture  must  be  a  dominant  figure  or  object  to  which  all 
other  parts  of  the  picture  must  be  subordinate.  There  should  be  some 
object  of  secondary  interest  connected  with  your  principal  object. 
For  instance,  if  your  principal  object  is  a  clump  of  trees,  a  second 
clump,  a  little  further  away;  or  again,  a  woman  playing  with  a  child 
or  watching  an  incoming  boat — this  constitutes  the  motif  of  your  picture. 

Remember  always  that  the  background  must  be  subordinate  and 
unobtrusive.  Also  that  there  should  not  be  two  highlights  or  deep 
shadows  of  equal  importance,  and  that  when  possible  the  deepest 
shadow  should  meet  the  highest  light.  And  finally  that  the  most 
important  position  in  a  picture  is  always  more  or  less  towards  the  center 
either  to  the  right  or  left;  the  exact  center  should  be  avoided  as  this 
divides  the  picture  into  equal  parts. 

The  horizon  line,  which  in  most  landscapes  is  the  more  conspicuous, 
should  never  divide  the  pictures  into  two  equal  parts,  but  should  be 
approximately  either  one-third  from  the  top  or  from  the  bottom.  When 
there  are  subjects  in  the  near  foreground,  the  line  should  be  about 
one-third  from  the  top,  while  for  broad  expansive  views  it  should  be 
at  the  same  distance  from  the  bottom.  With  the  latter,  one  should 
have,  if  possible,  a  clouded  sky.  Clouds  are  a  decided  advantage, 
inasmuch  as  they  break  up  the  monotony  of  a  white  sky  and  add  greatly 
to  the  beauty  and  attractiveness  of  the  picture. 


OUTDOOR  WORK  39 

Of  equal  importance  with  the  arrangement  of  the  objects  in  your 
picture  is  the  question  of  lighting,  as  the  lighting  determines  the  strength 

and  position  of  your  lights  and  shadows.  Beginners, 
Lighting  as  a  rule,  when  making  exposures  in  the  sunlight,  should 

have  the  sun  behind  the  back  or  over  the  shoulder,  but 
the  advancement  of  the  amateur  warrants  further  information. 

Effective  pictures  may  frequently  be  made  by  having  the  sun  to 
one  side,  and  at  various  times  the  value  of  the  picture  is  increased  by 
its  being  a  trifle  to  the  front.  (In  such  case  it  will  be  necessary  to 
shade  the  lens  to  keep  out  the  direct  sunlight  during  the  exposure.) 

As  an  illustration,  let  us  take  a  tree  in  the  bright  sunshine,  walk 
around  it  and  closely  observe  the  different  effects  of  light  and  shade. 
You  will  notice  that  when  you  face  the  tree  and  the  sun  is  directly 
behind  you  that  the  tree  has  the  appearance  of  being  flat;  as  you 
move 'gradually  to  the  right  or  left  you  will  see  that  part  of  it  is  in 
shadow,  and  as  you  arrive  at  an  angle  of  90  degrees  with  your  first 
position,  you  will  find  that  one  side  is  in  the  sunlight,  while  the  opposite 
side  is  in  the  shadow,  and  that  it  stands  out  with  pleasing  contrast  of 
light  and  shade,  thus  giving  depth  and  roundness. 

The  shadows  should  also  have  careful  study.  These  should  be 
transparent  to  a  degree,  always  containing  detail.  Heavy  black 
shadows,  devoid  of  detail,  are  always  a  detriment  to  your  composition. 
When  the  sun  is  very  bright  and  the  lights  are  strong  while  the  shadows 
are  black,  the  result  with  a  snapshot  would  be  too  great  contrast.  This 
can  be  overcome  by  a  very,  very  short  time  exposure,  resulting  in  a 
softening  of  the  highlights  and  an  added  amount  of  detail  to  the  shadows. 
When  photographing  boats,  the  point  of  view  to  be  obtained  (if  possible) 
should  be  such  that  the  shadow  effects  on  the  water  are  made  to  help  the 
composition. 


40 


OUTDOOR  WORK 


Any  subject,  in  which  the  objects  of  interest  are  more  than  500  feet  from  the  camera 
should  be  classed  in  Group  1 


EXPOSURES  FOR  OUTDOOR  SUBJECTS 

Reprinted  from  "Kodakery" 

Nearly  all  the  subjects  that  are  now  ordinarily  photographed 
during  the  daylight  hours  may  be  classed  in  four  groups,  and,  as  the 
exposure  that  each  group  requires  can  be  easily  memorized,  the  outdoor 
exposure  problem  can  be  reduced  to  the  single  question  of  determining 
in  which  group  the  subject  belongs. 

By  examining  our  illustrations,  each  of  which  bears  the  number  of 
the  group  in  which  it  is  classed  in  the  accompanying  exposure  tables, 
you  can  readily  decide  in  which  group  the  subject  you  wish  to  photo- 
graph belongs,  and  then,  by  giving  the  exposure  recommended  in  the  table 
that  applies  to  the  type  of  camera  you  are  using,  you  should  have  no 
difficulty  in  obtaining  a  negative  from  which  good  prints  can  be  made. 

If  the  camera  has  a  double  lens  (such  lens  will  be  either  a  recti- 
linear or  an  anastigmat),  use  the  table  on  page  42. 

If  the  camera  is  a  folding  Kodak,  Brownie  or  Premo  that  has  a  single 
lens,  with  stops  marked  1.  2,  3  and  4,  use  the  table  on  page  44. 

If  it  is  a  box  Brownie  or  a  box  Premo,  which  has  only  one  shutter 
speed,  and  has  no  bellows,  use  the  table  on  page  45. 


OUTDOOR  WORK 


41 


GROUP  1 

nportant  to  record  the  shadows  on  the  snow  than  the  detail  in  dark  toned 
objects  give  the  exposure  recommended  for  Group  1 


GBOUP  2 

A  typical  ordinary  landscape  scene,  showing  sky,  with  prominent  foreground  objects 


42 


OUTDOOR   WORK 


The  exposures  rec- 
ommended are  neither 
the  shortest  nor  the 
longest  that  will  give 
good  results  with 
Kodak  film,  the  lati- 
tude of  which  is  so  great 
that  it  will  take  care  of 
any  reasonable  error 
in  exposure.  They  are 
averages  that  have 
been  obtained  from  a 
comparison  of  thou- 
sands of  exposures  and 
they  are  as  good  for 
use  on  sunny  days  in 
winter  as  on  days  of 
summer  sunshine. 

When  the  day  is 
cloudy  bright  the  ex- 
posures should  be  from 
two  to  three  times  as 
long,  and  when  the 
day  is  dull  the  expo- 
sures should  be  form 
four  to  eight  times  as 
long  as  those  mention- 
ed in  the  tables. 


GROUP  2 


should  be  classed  in  Gr 


pictured  at  short  range  they 


OUTDOOR  EXPOSURE  TABLE  FOR  CAMERAS  THAT  HAVE  RECTILINEAR 
OR  ANASTIGMAT  LENSES. 

For  %Yi  hours  after  sunrise  until  %Yi  hours  before  sunset  on  days  when  the  sun  is  shining 


GROUP  1  —  Snow,  Marine,  Beach  Scenes 
Extremely  Distant  Landscapes 

GROUP  2  —  Ordinary  Landscapes  Showing 
Sky,  with  a  Principal  Object 
in  the  Foreground  ......... 

GROUP  3  —  Nearby  Landscapes  Showing 
Little  or  no  Sky  —  Groups, 
Street  Scenes  .............. 

GROUP  4  —  Portraits  in  the  Open  Shade, 
not  under  Trees  or  the  Roof  of  a 
Porch  —  Shaded  Nearby  Scenes 


Shutter 
Speed 


Rectilinear 
Lenses 
Stop 


32 


16 


Anastigmat 
Lenses 
Stop 


22 


It. 


7.7  or  8 


OUTDOOR  WORK 


GROUP  3 
tearby  landscape  showing  little  sky 


GROUP  3 

The  exposure  recommended  for  groups  is  intended  only  for  stationary  figures.     This  picture 
suggests  but  it  does  not  actually  represent  subjects  that  are  moving 


41 


OUTDOOR  WORK 


GROUP  4 

Nearby  Dark  Toned  Subjects  which  are  not  wholly  in  sunshine 
should  be  classed  in  Group  It 

EXPOSURE  TABLE  FOR  THE  FOLDING  KODAK,  BROWNIE  AND  PREMO 
CAMERAS  THAT  HAVE  SINGLE  LENSES 


For  ZYi  hours  a}.. 


irise  until  2}4  hours  befo 


iset  on  days  when  the  sun 
Shutter 


GROUP  1 — Snow,  Marine  and  Beach  Scenes — Extremely 

Distant  Landscapes 

GROUP  2 — Ordinary  Landscapes  Showing  Sky,  with  a 

Principal  Object  in  the  Foreground 

GROUP  3 — Nearby  Landscapes  Showing  Little  or  no 

Sky — Groups,  Street  Scenes  

GROUP  4 — Portraits  in  the  Open  Shade,  not  under  Trees 

or  the  Roof  of  a  Porch — Shaded  Nearby  Scenes 


shininy 
Stop 
/25  3 

/25  2 

^  1 

1  second    4 


OUTDOOR  WORK 


GROUP  4 

When  making  Portraits  or  Story-Telling  Pictures  in  the  shadow  of  a  building  or  a  tree 

with  nothing  but  the  sky  above  the  subjects,  the  exposures  recommended 

for  Group  It  should  be  given 


OUTDOOR  EXPOSURE  TABLE  FOR  FIXED  Focus  Box  CAMERAS  THAT 
HAVE  SINGLE  LENSES 

For  Z]/^  hours  after  sunrise  until  2Yi  hours  before  sunset  on  days  when  the  sun  is  shining 

GROUP  1 — Snow,  Marine  and  Beach  Scenes — 

Extremely  Distant  Landscapes.    Snapshot  with  Second  Stop 
GROUP  2 — Ordinary   Landscapes   Showing 

Sky,  with  a  Principal  Object  in 

the  Foreground Snapshot  with  Largest  Stop 

GROUP  3 — Nearby    Landscapes    Showing 

Little  or  no  Sky — Groups,  Street 

Scenes Snapshot  with  Largest  Stop 

GROUP  4 — Portraits  in  the  Open   Shade, 

not  under  Trees  or  the  Roof  of  a 

Porch — Shaded  Nearby  Scenes.  1  second  with  Third  Stop 
To  make  a  time  exposure  with  a  fixed  focus  Brownie  Camera, 
draw  out  the  time  slide  and,  with  a  fixed  focus  Premo,  move  the  time 
lever  over  to  "T."  It  takes  two  movements  of  the  shutter  lever  for 
making  a  time  exposure — one  pressure  for  opening  the  shutter  and 
another  for  closing  it. 

It  takes  about  one  second  to  mentally  pronounce  "one  hundred 
and  one." 

MOVING  OBJECTS 

While  all  of  the  combinations  of  stops  and  shutter  speeds  that  are 
recommended  in  the  preceding  tables  are  eminently  satisfactory  for 
photographing  stationary  objects,  all  of  them  are  not  adapted  for 
photographing  moving  objects. 


46  OUTDOOR  WORK 

It  is  obvious  that  sharp  pictures  of  moving  objects  can  only  be  se- 
cured with  short  exposures.  A  good  exposure  rule,  when  using  a 
compact  hand  camera  for  picturing  anything  that  is  moving,  is  to  use 
the  largest  stop  and  give  the  shortest  exposure  that  the  camera  can 
make.  The  subject  must,  of  course,  be  in  bright  sunshine. 

The  risk  of  movement  showing  in  a  negative  is  lessened  as  the 
distance  betweent  the  camera  and  the  moving  object  is  increased,  and 
it  is  also  lessened  as  the  angle  at  which  the  object  moves  across  the 
field  of  view  is  reduced.  To  illustrate:  If  the  object  is  moving  at 
right  angles  to  the  camera,  at  a  speed  of  ten  miles  an  hour,  it  should 
be  photographed  at  a  distance  of  seventy-five  feet  or  more.  If  it  is 
moving  diagonally  across  the  field  of  view  it  may  be  photographed 
at  a  distance  of  fifty  feet,  while  if  it  is  moving  directly  toward  or  away 
from  the  camera  it  can  be  photographed  at  a  distance  of  about  forty  feet, 
with  the  assurance  of  equally  sharp  images  of  the  object  being  obtained 
in  each  case. 

The  most  pleasing  pictures  of  moving  objects  are  usually  obtained 
when  the  subject  is  moving  diagonally  across  the  field  of  view. 


COLOR  FILTERS  47 

THE  USE  OF  COLOR  FILTERS 

The  light  of  the  sun  is  known  as  white  light  and  consists  of  all 
colors.  When  a  ray  of  white  light  is  passed  through  a  prism  the  light 
is  bent,  and  as  the  colors  are  bent  to  different  extents  they  are  separated 
and  some  of  them  become  visible.  The  colors  we  can  then  readily 
distinguish  are  violet,  blue,  green,  yellow,  orange  and  red. 

In  addition  to  these,  sunlight  also  contains  rays  that  are  ordinarily 
invisible,  but  some  of  which  can,  with  special  apparatus,  be  made 
visible.  These  are  known  as  the  ultra-violet  and  the  infra-red.  The 
infra-red,  being  heat  rays,  are  of  no  importance  in  photography,  but 
the  ultra-violet,  which  are  light  rays,  are  of  very  great  importance. 

The  colors  of  which  white  light  is  composed  appear  in  the  order 
shown  in  the  diagram: 

'Visible  Invisible 

infra-red 


Photographic    rays    which  The    visual   rays  Heat  Rays 

most  strongly  affect  films  which  are  bright- 

and  plates  est  to  the  eye 


While  all  the  colors  pass  through  the  lens  and  reach  the  plate  when 
we  make  an  exposure  by  daylight,  if  no  filter  is  used,  and  while  the  film 
or  plate  would,  if  exposed  long  enough,  be  affected  by  all  these  colors, 
it  is  so  much  more  strongly  affected  by  blue,  violet  and  ultra-violet 
that  these  latter  colors  impress  the  image  of  the  subject  on  the  film 
long  before  the  other  colors  can  affect  it,  and,  were  we  to  expose  the 
film  long  enough  for  the  other  colors  also  to  affect  it,  the  negative 
would  be  ruined  through  excessive  over-exposure.  This  means  that 
when  we  make  a  negative  on  an  ordinary  plate  of  a  subject  illuminated 
by  daylight,  the  image  we  obtain  in  the  negative  was  made  almost  solely 
by  the  blue,  violet  and  ultra-violet,  and  this  is  why,  when  we  use  an 
ordinary  plate  and  photograph  a  landscape  above  which  is  a  blue  sky 
with  white  clouds,  and  expose  long  enough  for  recording  detail  in  a 
nearby  object,  both  clouds  and  sky  appear  white  in  the  print. 

In  order  to  overcome  this  and  make  blue  photograph  darker  than 
white  we  must  use  a  film  or  plate  that  is  affected  by  green  and  yellow 
at  the  same  time  it  is  being  affected  by  blue,  violet  and  ultra-violet. 
Kodak  film,  being  orthochromatic  (corrected  for  color),  is  affected 
at  the  same  time  by  these  colors;  but,  since  all  films  and  all  plates, 
no  matter  how  highly  they  may  be  corrected  for  color^  still  remain 
most  sensitive  to  blue,  violet  and  ultra-violet,  these  colors  will  affect 
them  much  more  strongly  than  the  other  colors  can  unless  we  subdue 
these  colors  by  using  a  suitable  orthochromatic  filter,  through  which 
the  light  must  pass  before  it  reaches  the  film  or  plate. 


48  COLOR  FILTERS 

The  function  of  an  orthochromatic  filter  is,  therefore,  to  prevent 
part  of  the  blue  and  violet  from  passing  through  it,  thus  more  nearly 
equalizing  the  effect  the  various  colors  have  on  the  film  or  plate  during 
the  period  of  exposure. 

Since  the  orthochromatic  filter  prevents  part  of  the  blue  and  violet 
from  passing  through,  it  cuts  out  part  of  the  light  that  would  affect  the 
film  or  plate  if  no  filter  was  used,  and,  consequently,  it  increases  the 
exposure  that  must  be  given.  The  increase  of  exposure  required 
depends  on  how  much  of  the  blue  and  violet  the  filter  cuts  out  and  also 
on  how  sensitive  the  film  or  plate  is  to  the  light  which  the  filter  lets 
through. 

If  we  had  a  film,  for  instance,  which  had  its  sensitiveness  in  two 
equal  portions,  half  the  total  sensitiveness  being  to  the  green,  yellow, 
orange  and  red,  and  half  to  the  blue  and  violet,  then,  if  we  used  a  filter 
which  cut  out  all  the  blue  and  violet  but  allowed  all  the  green,  yellow, 
orange  and  red  to  pass  through,  the  exposure  with  the  filter  would  be 
only  twice  that  needed  without  the  filter;  but,  if  the  sensitiveness  of 
the  film  was  only  %  to  the  green,  yellow,  orange  and  red  and  %  to  the 
blue  and  violet,  the  exposure  with  a  filter  that  cut  out  all  the  blue  and 
violet  but  passed  all  the  green,  yellow,  orange  and  red,  would  be  five 
times  that  needed  without  the  filter. 

It  is  not  desirable  to  make  film  strongly  sensitive  to  red  because 
if  it  was  it  would  be  too  slow  for  present  day  requirements  in  snapshot 
work,  even  when  no  filter  was  used,  and  it  would  be  very  difficult 
to  handle  in  the  dark-room.  Tank  development  by  daylight  would  be 
impossible.  It  would  be  fogged  by  even  a  very  weak  red  light;  none 
but  an  experienced  photographer  could  judge  the  density  of  the  negative 
during  development  before  the  extremely  dim  special  green  safelight 
needed  for  tray  development  and,  after  tank  development,  the  film 
would  have  to  be  transferred  to  the  fixing  bath  in  a  light-tight  dark-room 
and  precaution  taken  against  light  reaching  the  film  for  some  time 
after  it  was  placed  in  the  fixing  bath. 

From  the  foregoing  it  is  evident  that  calling  a  filter  a  three  times 
or  a  five  times  filter  means  practically  nothing  unless  the  conditions 
under  which  the  filter  is  to  be  used  are  stated. 

The  number  of  times  exposure  must  be  increased  when  a  filter  is 
used  is  called  the  multiplying  factor,  or  the  filter  factor. 

The  multiplying  factors  given  by  the  Eastman  Kodak  Company 
for  the  filters  of  their  manufacture  are  calculated  for  exposures  that 
will  record  shadow  detail.  For  instance,  should  the  exposure  that 
will  record  shadow  detail  be  1  second  without  a  filter  and  7  seconds 
with  a  filter,  the  Eastman  Kodak  Company  would  give  this  filter  a 
factor  of  7. 

When  the  Kodak  Color  Filter  is  used  for  photographing  landscapes, 
and  the  best  rendering  of  clouds  and  sky  is  preferred  to  detail  in  near- 
by objects  on  the  landscape,  a  factor  of  3  will  be  ample,  but  when 
detail  in  dark  colored,  nearby  objects  is  desired,  and  when  flowers 


DISTANT  CLOUDS  49 

are  photographed  at  short  range,  the  exposure  through  the  filter  should 
be  7  times  as  long  as  the  exposure  that  would  be  needed  without  the 
filter. 

In  the  purchase  and  use  of  a  filter  the  photographer  should  make 
sure  of  the  basis  used  by  the  manufacturer  in  naming  his  factors. 
If  he  uses  the  sky  as  a  basis  and  gives  his  filter  a  factor  of  3  it  would 
necessarily  follow  that  the  landscape  factor  would  be  considerably 
more  than  3. 


SNAPSHOTS  OF  DISTANT  CLOUDS  AND 
NEARBY  LANDSCAPES 

When  there  are  clouds  -above  the  landscape  you  should  get  them 
in  your  print. 

The  only  clouds  it  is  difficult  to  record  in  a  photograph  when  the 
exposure  is  timed  for  securing  detail  in  a  nearby  landscape  are  the  white 
clouds  that  are  outlined  against  a  light  blue  sky.  The  customary 
method  of  recording  these  is  to  use  a  filter  which  usually  prolongs  the 
exposure  so  much  that  the  picture  will  be  blurred  if  the  camera  is  held 
in  the  hands. 

The  Kodak  Sky  Filter  will  record  both  clouds  and  landscape  so 
the  picture  will  not  be  blurred  when  the  camera  is  held  in  the  hands. 
With  its  use  fully  timed  negatives  can  be  made  with  snapshot  exposures 
that  are  only  about  twice  as  long  as  would  be  needed  if  no  filter  was 
used.  This  means  that  if  an  exposure  of  %$  of  a  second,  with  stop 
16,  is  correct  without  a  filter,  an  exposure  of  ^5  of  a  second,  with  stop 
No.  8  (/.ll),  will  be  about  correct  when  the  Kodak  Sky  Filter  is  used. 

The  reason  why  the  Kodak  Sky  Filter  permits  the  recording  of 
both  clouds  and  landscape  with  snapshot  exposures  is  that  the  intensity 
of  the  light  reflected  by  the  sky  is  reduced  in  passing  through  the  yellow 
upper  part  of  this  filter,  while  the  light  from  the  nearby  landscape  passes 
through  the  lower  part,  which  is  not  colored.  This  results  in  balancing 
the  lights  that  pass  through  the  lens  so  they  will  be  recorded  by  the  film 
or  plate  in  nearly  the  same  values  that  are  seen  by  the  eye. 

The  Kodak  Sky  Filter  is  not  intended  to  take  the  place  of  the 
regular  Kodak  Color  Filter.  The  regular  Kodak  Color  Filter  should 
be  used  in  all  cases  where  improved  renderings  of  blue  and  yellow 
are  desired  throughout  the  entire  picture  area.  It  is  also  intended 
for  photographing  landscapes  with  clouds  when  longer  than  snapshot 
exposures  can  be  given,  but  whenever  snapshots  are  to  be  made,  without 
a  tripod,  of  landscapes  with  clouds  above  them,  the  Kodak  Sky  Filter 
can  be  used  to  advantage. 


Architectural  and    Interior 
Photography 

r  I  ^HE  amateur,  and  particularly  the  tourist,  frequently  encounters 
I    architectural  subjects  possessing  most  interesting  features  from  the 
structural  or  historic  point  of  view. 

In  straight  architectural  work  full  detail  is  essential  and  in  most 
cases  entails  the  use  of  small  stop  openings,  and  a  time  exposure. 

This  branch  of  the  work  makes  imperative  the  absolute  leveling 
of  the  camera,  in  order  to  avoid  distortion,  and  the  worker  should 
likewise  carefully  read  the  instructions  regarding  the  rising  and  sliding 
front,  as  this  attachment  is  most  valuable  in  this  work  when  used 
intelligently. 

A  diagonal,  rather  than  a  full  front  view  of  a  building,  will  usually 
be  found  the  more  pleasing,  particularly  so  if  a  portion  of  the  building 
is  in  shadow. 

In  detail  work,  the  position  of  the  camera  is  important:  Doorways 
and  windows  should  be  taken  in  full  front,  if  taken  from  one  side  the 
correct  effect  of  the  top  is  often  lost. 

Exposures  should  be  ample,  especially  for  interior  work,  as  an 
under-timed  negative  will  not  only  fail  to  bring  out  the  detail  but  the 
contrasts  will  be  too  great. 

Kodak  Film  will  be  found  especially  valuable  for  this  class  of  work 
on  account  of  its  non-halation  and  orthochromatic  qualities. 

In  photographing  interiors,  such  as  the  ordinary  living  room  of  a 
home,  some  thought  must  be  given  as  to  the  arrangement  of  the  portion 
of  the  room  to  be  pictured.  By  all  means  avoid  crowding;  do  not 
attempt  to  include  all  the  furniture  in  the  room  within  the  confines  of 
your  picture,  and  be  careful  that  the  larger  objects,  such  as  heavy  chairs 
or  tables,  do  not  come  in  the  immediate  foreground  as  they  will  then 
photograph  out  of  proportion. 

If  the  pictures  on  the  wall  are  glazed,  avoid,  if  possible,  reflections 
from  the  glass;  such  reflections  can  frequently  be  avoided  by  drawing 
down  one  of  the  window  shades. 

When  possible  photograph  across  the  light  coming  from  a  window, 
rather  than  directly  toward  it,  as  by  so  doing  you  will  obtain  better 
gradation  and  avoid  the  halation  as  well. 

Take  plenty  of  time  in  selecting  your  view  point  and  in  arrangement, 
and  give  plenty  of  time  for  the  exposure.  Lean  toward  over-exposure 
rather  than  under-exposure  to  secure  full  details  in  the  shadows. 


Photographing  Interiors 

Reprinted  from  "Kodakery" 

PLACING  the  camera  on  a  tripod  and  making  time  exposures  by  the 
daylight  that  enters  through  doors  and  windows  is  the  simplest  way 
of  photographing  rooms  in  the  home. 

Those  who  have  observed  that  the  light  is  strong  in  some  parts 
of  a  room  and  weak  in  other  parts  may  doubt  that  good  results  can 
be  obtained  by  so  simple  a  method. 

The  secret  of  success  lies  in  controlling  the  light  by  raising  or  lowering 
the  window  shades  and  opening  or  closing  doors  so  the  light  will  be 
as  uniform  as  possible  in  those  parts  of  the  room  that  are  to  be  photo- 
graphed, and  in  always  having  the  light  come  from  behind  the  camera 
or  from  any  one  or  more  sides  excepting  that  side  of  the  room  toward 
which  the  lens  is  pointed.  It  is  also  necessary  to  give  an  exposure^that 
is  long  enough  for  recording  detail  in  all  but  the  darkest  shadows. 


Fig.  1. — Made  at  10  A.  M.;  stop,  /.22;  3  minutes. 


PHOTOGRAPHING  INTERIORS 


Our  illustrations  are  from  photographs  that  were  made  by  this 
method.  The  rooms  were  photographed  on  a  day  of  bright  sunshine. 
The  only  change  made  in  the  arrangement  of  the  rooms  was  the  removal 
of  such  furniture  as  was  too  near  the  camera. 


Fig.  2. — Made  at  11  A.  M.;  stop,  /.32;  6  minutes. 


Fig.  1  was  made  at  10  a.  m.  The  walls,  ceiling  and  woodwork 
were  light  colored.  The  light  came  from  the  east,  through  one  window 
and  one  open  door,  both  of  which  were  behind  the  camera.  The 
south  wall  is  shown  on  the  left  side  of  the  picture.  The  staircase  is 
along  the  west  wall.  Though  the  shades  on  the  staircase  windows 
were  drawn  down  they  were  so  light  colored  that  the  outlines  of  the 
window  sashes  could  be  seen  through  the  shades. 

Fig.  2  shows  another  view  of  the  same  room.  The  open  doorway 
is  in  the  north  wall.  The  light  came  from  the  right  side  of  the  camera. 
The  strongest  light  that  entered  the  room  beyond  the  doorway  came 
through  windows  at  the  left,  which  could  not  be  seen  from  the  position 
of  the  camera. 

The  walls,  ceiling  and  furnishings  recorded  in  Fig.  3  were  very 
dark.  The  sun  was  shining  directly  against  the  windows  shown  in 
the  picture,  thus  casting  shadows  of  the  window  bars  on  the  dark 
colored  shades.  This  picture  was  made  by  the  light  that  came  through 
two  large  bay  windows  that  were  opposite  each  other.  The  shadows 
on  the  floor  show  that  a  much  stronger  light  came  through  the  windows 
on  the  left  than  through  those  on  the  right  side  of  the  camera. 


PHOTOGRAPHING  INTERIORS 


53 


Fig.  4  shows  parts  of  three  rooms.  The  view  is  looking  east.  The 
farthest  room  was  lighted  by  windows  on  the  north,  east  and  south 
sides  and  the  other  rooms  by  north  and  south  windows.  The  shrubbery, 
faintly  seen  above  the  fern,  was  outdoors  in  the  shade  and  very  close 
to  the  building. 

The  unique  effects  shown  in  Figs.  5  and  6,  which  were  made  on 
a  dull  day,  were  obtained  by  making  an  exposure  indoors  for  the  outdoor 
view  that  is  seen  through  the  closed  windows. 


Fig.  3.— Made  at  3  P.  M.;  stop,  16;  10  minutes. 


When  photographing  interiors  it  is  imperative  to  observe  the 
following  rules: 

The  camera  must  be  placed  on  a  tripod  or  other  rigid  support  for 
making  time  exposures.  If  time  exposures  are  made  with  the  camera 
held  in  the  hands  the  picture  will  be  blurred,  and  if  snapshots  are 
made  the  negatives  will  be  under-exposed. 

The  camera  must  be  level,  so  that  the  vertical  lines  of  the  walls, 
as  seen  in  the  finder,  are  parallel  with  the  sides  of  the  finder,  or  the 
picture  will  show  the  walls  tapering. 

More  of  the  floor  than  of  the  ceiling  must  be  shown,  or  the  room 
will  appear  to  be  top-heavy. 

Before  making  the  exposure  place  your  head  squarely  in  front 
of  the  lens  and  look  for  reflections  in  pictures  or  mirrors  (note  the 
reflection  in  the  picture  above  the  mantel  in  Fig.  3)  and,  if  any  are 
seen,  place  a  wad  of  paper  behind  one  corner  of  the  frame,  thus  changing 
its  angle.  A  slight  change  of  angle  will  not  be  noticed  in  the  picture. 
Never  use  a  large  stop  or  part  of  the  picture  will  be  out  of  focus. 

Never  place  furniture  in  the  foreground  near  the  camera,  or  it 
will  appear  too  large  in  comparison  with  the  furniture  that  is  farther 
from  the  lens. 


54 


PHOTOGRAPHING  INTERIORS 


Dp  not  include  a  lot  of 
furniture  within  the  field  of 
view,  or  the  picture  will 
suggest  that  the  room  is 
crowded.  Make  different 
views  of  the  same  room, 
with  each  piece  of  furniture 
as  nearly  as  possible  in  its 
accustomed  place. 

To  determine  the  expo- 
sures for  interiors  we  must 
know  whether  our  camera 
has  a  double  or  a  single 
lens.  The  front  combination 
of  a  double  lens  is  in  front 
of  the  shutter  and  is  visible 
whether  the  shutter  is  open 
or  closed,  while  a  single  lens 
is  placed  behind  the  shutter 
and  is  not  visible  when  the 
shutter  is  closed. 

With  all  double-lens  hand 
cameras  use  stop  16,  and 
with  all  single-lens  cameras 
that  have  no  stop  marked 
16,  use  the  second  stop  and 
give  the  exposures  recom- 
mended in  the  following: 


Fig.  4.— Made  at  4.  P  M.;  stop,  f.22; 
2  minutes. 


EXPOSURE  TABLE  FOR  PHOTOGRAPHING   INTERIORS 


White  walls  and  more  than  one  window : 
bright  sun  outside,  4  seconds; 
hazy  sun,  10  seconds; 

White  walls  and  only  one  window : 
bright  sun  outside,  6  seconds; 
hazy  sun,  15  seconds; 


cloudy  bright,  20  seconds; 
cloudy  dull, 


cloudy  br 
cloudy  d 


, 
,  40  seconds. 


right,  30  seconds; 
till,  60  seconds. 


Medium  colored  walls  and  hangings  and  more  than  one  window : 
bright  sun  outside,  8  seconds;          cloudy  bright,  40  seconds; 
hazy  sun,  20  seconds;  cloudy  dull,  80  seconds. 

Medium  colored  walls  and  hangings  and  only  one  window : 
bright  sun  outside,  12  seconds;  cloudy  bright,  60  seconds; 
hazy  sun,  30  seconds;  cloudy  dull,  120  seconds. 

Dark  colored  walls  and  hangings  and  more  than  one  window : 


bright  sun  outside,  20  seconds; 
hazy  sun,  40  seconds; 


cloudy  bright,  80  seconds; 
cloudy  dull,  2  minutes,  40  seconds 


Dark  colored  walls  and  hangings  and  only  one  window: 

bright  sun  outside,  40  seconds;        cloudy  bright,  2  minutes,  40  seconds: 
hazy  sun,  80  seconds;  cloudy  dull.  5  minutes,  20  seconds. 


PHOTOGRAPHING  INTERIORS 


55 


This  table  is  calculated  for 
rooms  where  windows  receive 
the  unobstructed  light  from 
the  sky,  and  for  exposures 
made  not  earlier  than  three 
hours  after  sunrise  or  later 
than  three  hours  before  sun- 
set. 

When  the  next  smaller  stop 
than  the  one  mentioned,  on 
either  single  or  double  lens 
camera  is  used,  give  twice  the 
exposure  stated  in  the  table. 

If  in  doubt  whether  the 
walls  and  hangings  of  the 
room  should  be  classed  as- me- 
dium o*r  dark  colored  give  the 
exposure  recommended  for 
dark  colored  walls  and  hang- 
ings. 

Conditions  will  vary  great- 
ly in  different  rooms,  but  no 


Fig.  6.— Made  at  10  A.  M.;  cloudy  day; 
stop,  /.22;  10  seconds 


Fig.  5.— Made  at  10  A.  M.;  very 
cloudy;  stop,  /.22;  5  seconds 


matter  what  the  conditions  may 
be,  if  the  rooms  contain  one  or  more 
windows  you  can  make  good  pict- 
ures of  parts  of  such  rooms  by  the 
method  we  have  described. 

The  R.  O.  C.  Tripod  Truck  (see 
page  85),  is  a  most  convenient  ac- 
cessory when  a  tripod  is  employed 
indoors. 

The  truck  is  fitted  with  castors, 
making  it  a  very  simple  matter  to 
move  the  camera  about  the  room 
to  any  position. 


tographed  against  the  sunlight  but  with  the 
photographer's  body  shading  the  lens 


Home    Portraiture 


BEFORE    making    expo- 
sures in  and   around 
the  home,    it   is    most 
essential   that   the   Kodaker 
understands    the    power    of 
light  so  that 

The  his  exposures 

Photographic  may  come 
Value  within  the 

of  Light  limits  of  the 

latitude     o  f 

the  film,  and  approach  the 
normal  or  correct  exposure  as 
nearly  as  possible. 

The.  beginner  is  very 
apt  to  be  misled  into  esti- 
mating his  exposure  according 
to  the  visual  rather  than 
the  actinic  power  of  the 
light;  in  other  words,  a 
light  that  appears  exceedingly 
bright  and  powerful  to 
the  eye  may  have  but 


An  imposed  pose 


White  accessories  are  very  Helpful 
in  shortening  exposures 

weak  recording  power  on  the 
sensitive  film.  The  actinic  power 
of  the  light  is  diminished  by 
refraction  and  absorption.  As  an 
example,  examine  the  light  on 
a  bright,  sunny  afternoon  about 
two  o'clock.  Outdoors  in  this 
lieht  you  will  be  able  to  pro- 
duce a  fully-timed  negative  in  #00 
of  a  second  at  stop  8.  Now  enter 
a  room  on  the  sunny  side  of  the 
house,  one  having  large  plate  glass 
windows,  with  white  walls  and 
white  woodwork;  the  light  ap- 
pears, if  anything,  brighter  than 
outdoors.  Make  an  exposure, 
with  the  same  speed  and  stop 
opening,  placing  the  subject  close 
to  the  window,  and  you  will  find 
upon  development  that  this  expo- 
sure is  very  much  under-timed.  In 
this  case  the  loss  of  actinic  power  of 
the  light  is  due  to  the  refraction 
and  absorption  of  the  light  rays 
by  the  window  glass,  and  to  the 
fact  that  there  is  no  direct  expos- 


68 


HOME  PORTRAITURE 


ure  to  the  light  of  the  whole  sky.  To  obtain  a  negative  equal  in 
density  to  the  first  one,  you  will  have  to  give  an  exposure  of  from  one 
to  two  seconds,  or  one  hundred  to  two  hundred  times  as  long  as  for  the 
exposure  just  the  other  side  of  that  deceptive  piece  of  glass. 

Next  make  an  exposure  in  the 
light  dining-room,  with  its  bright 
red  rug,  and  bright  red  wall 
paper — two  seconds  exposure 
should  be  plenty.  Well,  what  is 
the  matter?  Same  speed  and 
stop  were  used  and  the  light 
was  just  as  good  as  in  that  white 
room,  and  you  had  a  bad  under- 
exposure. Could  the  color  of 
the  rug  and  wall  paper  have 
had  anything  to  do  with  it? 
You  guessed  right.  Anything 
red  in  color  has  the  power  to 
absorb  a  great  portion  of  the 
light  rays  that  would  have  an 
effect  on  your  film — you  know 
your  dark-room  lamp  is  fitted 
with  a  ruby  glass.  With  the 
white  walls  you  are  aided  by 
the  light  reflected  back  from 
their  surfaces  in  just  about  the 
same  proportions  as  your  other 
exposure  was  lengthened  by  the 
absorbing  power  of  the  red  walls 
and  floor  covering. 

Now  try  two  further  experi- 
ments. Take  your  subject 
outside  again,  on  the  shady  side 
of  the  house,  but  where  you  can 
obtain  direct  illumination  from 
the  sky.  To  your  eyes,  this 
location  would  seem  to  require  a 
longer  exposure  than  the  one 
in  the  room  with  the  white 
walls,  but  try  an  exposure  of 
1-10  second.  This  develops  up 
about  normal.  Now  as  a  final 
experiment  move  your  subject 

up  on  the  veranda,  just  far  enough  back  so  that  the  direct  light  from 
the  sky  cannot  be  utilized.  The  illumination  appears  to  be  just  as 
good  here  as  the  previous  exposure,  but  to  be  on  the  safe  side  try  two 
exposures,  one  of  1-10  second,  just  the  same  as  for  your  last  outdoor 
exposure,  and  one  of  Yi  second;  the  1-10  second  exposure  is  very  much 
under-exposed,  and  the  ^  second  could  have  been  increased  to  one 
second  without  danger  of  much  over-timing. 


A  snapshot  made  possible  by  light 
reflected  from  below 


HOME  PORTRAITURE 

mmm, 


A  picture  where  detail  in  the  surroundings  is  permissible. 

These  few  experiments  will  serve  fairly  well  as  a  working  basis 
for  future  exposures,  but,  of  course,  during  the  shorter  days  and  in 
cloudy  weather,  the  exposure  will  have  to  be  proportionately  increased. 

In  the  somewhat  contrasty  light  usually  encountered  it  is  better  to 
err  on  the  side  of  over-exposure,  as  this  not  only  affords  better  shadow 
detail,  but  the  consequent  tendency  to  flatness  overcomes  much  of 
the  contrast. 

Of  course,  in  photographing  small  children,  time  exposures  of 
any  appreciable  duration  are  out  of  the  question,  but  even  in  such 
cases  it  is  well  to  risk  movement  rather  than  under-exposure. 

There  is  quite  a  difference  between  a  portrait  and  a  map. 
Portrait  A  portrait  should  be  not  only  a  correct  likeness,  but 

Quality  should  present  the  subject  in  a  pleasing  pose,  subduing 

defects  and  accentuating  the  strongest  characteristics. 

A  portrait  to  be  pleasing  must  avoid  harsh  contrasts  and  possess 
full  gradation  from  highest  light  to  deepest  shadow,  consequently 
you  must  so  arrange  your  subject  and  light  as  to  produce  this  effect. 
In  your  previous  experiments  you  acquired  some  knowledge  of  the 
intensity  value  of  light,  you  can  now  experiment  a  little  in  regard 
to  its  quality. 

Placing  your  subject  close  to  the  window,  with  the  light  full  on 
the  face,  you  see  that  all  parts  are  equally  illuminated  and  with  conse- 
quently no  gradation.  Now  move  the  subject  back  a  few  feet,  the  light 
immediately  softens,  and  you  obtain  a  roundness  and  modeling  far 
more  pleasing. 


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Turning  the  subject's  head 
partly  away  from  the  light 
increases  the  steps  in  gradation, 
only  the  part  of  the  face  in 
deepest  shadow  appears  too 
dark  and  without  detail. 

Illuminating  this  shadow  is 
very  simple.  Take  a  large 
white  towel,  and  hold  it  about 
four  feet  away  from  the  shadow 
side,  it  lightens  it  up  a  little,  but 
not  quite  enough,  so  walk 
slowly  towards  the  subject  until 
this  shadow  is  sufficiently 
illuminated  to  bridge  that  big 
gap  in  gradation. 

All  you  have  to  do  now  is  to 
pin  this  towel  to  the  back  of  a 
tall  chair  or  anything  else 
handy  and  you  have  as  satis- 
factory a  reflector  as  one  could 
wish.' 

Before  attempting  any  ex- 
posures place  your  subject  in 
various  parts  of  the  room  and 
study  the  effects  you  can  pro- 
duce. 

One  thing  to  remember  is  this,  that  the  light  intensity  value  increases 
and  descreases  by  the  square  of  the  distance  from  the  source  of  the  light; 
that  is  to  say,  if  you  find  the  correct  exposure  two  feet  from  the  window 
is  three  seconds,  four  feet  from  the  window  will  demand  an  exposure  of 
nine  seconds  to  secure  equal  density  in  your  negative. 

Always  use  the  strongest  light  that  you   can   consistently  with 

the  effect  you  desire  to  produce,  as  prolonged  exposures  not  only  detract 

from  the  spontaneity  of  expression  and  pose,  but  make  your  subject 

uncomfortable  and  liable  to  move. 

The  preceding  experiments  have  had  to  do  only  with 
the  technical  side  of  portrait  making,  and  therefore  you 
have  experimented  only  with  the  recording  power  of  the 
light.  In  order  that  you  may  make  your  pictures  artistic 

you  must  learn  how  to  control  and  direct  the  light  just  where  you 

want  it  to  produce  the  desired  effect. 

Controlling  the  light  is  a  very  simple  matter,  and  entails  no  extra 

apparatus  beyond  a  few  sheets  of  paper  or  cloth,  and  a  few  pins  or 

thumb  tacks  for  holding  them  in  position. 

It  is  generally  accepted  that  allowing  the  light  to  fall  on  the  face 
at  an  angle  of  forty-five  degrees  produces  the  most  natural  effect, 
and  you  can  easily  secure  this  illumination  by  simply  blocking  up  the 
lower  half  of  the  window. 


Accessories  often  aid  in  giving 
point  to  the  pose 


Light 
Control 


HOME  PORTRAITURE  61 

Other  methods  of  lighting  can  be  used  successfully,  of  course, 
and  some  most  charming  effects  can  be  produced  by  allowing  the 
light  to  come  from  other  angles. 

Now  with  the  lower  portion  of  the  window  curtained,  and  the 
reflector  placed  in  the  proper  position,  you  have  your  light  under 
good  control  for  head  and  shoulders  or  half-length  portraits,  but  suppose 
you  want  to  make  a  full  length  portrait  with  the  subject  attired  in 
dark  costume;  in  this  case  you  have  either  to  move  your  subject  further 
back  from  the  window,  use  a  semi-transparent  curtain  for  blocking 
the  lower  half  of  the  window,  or  use  a  second  reflector  to  reflect  the 
light  upon  such  portions  of  the  subject  as  require  it. 

The  simplest  way  is,  of  course,  to  move  the  subject  back  from 
the  window  until  the  light  covers  the  figure  fully,  but  in  some  cases 
this  will  extend  the  duration  of  the  exposure  beyond  the  practical 
limit,  when  one  of  the  other  two  alternatives  must  be  employed. 

Bleached  cheese  cloth  may  be  used  for  blocking  the  window  when 
it  is  necessary  to  admit  some  light  through  the  lower  portion  of  the 
window,  and  for  reflecting  light  up  from  the  floor  a  sheet  placed  on  a 
chair,  or  sometimes  just  spread  on  the  floor,  will  answer  the  purpose. 

In  portraiture  you  must  always  bear  in  mind  that  the  face  is  the 
most  important  element  in  the  picture,  and  consequently  you  must 
subordinate  all  other  parts;  this  is  a  comparatively  easy  matter  when 
your  subject  is  attired  in  dark  costume,  but  when  the  clothing  is  white 
or  nearly  so,  you  must  devise  some  means  for  subduing  it  to  its  proper 
key  without  loss  of  its  natural  softness  and  brilliancy. 

Sometimes  an  absolutely  opaque  curtain  for  the  lower  half  of  the 
window  will  suffice,  but  more  often  it  will  stop  too  much  light,  and 
in  such  cases  you  may  resort  to  the  very  simple  expedient  of  using 
a  piece  of  yellow  cheese  cloth  for  curtaining  off  the  lower  portion  of 
the  window,  employing  one  or  more  thicknesses,  as  the  occasion 
demands. 

When  the  costume  is  dark  the  illumination  and  exposure  must 
be  sufficient  to  show  detail  in  the  figure  and  texture  in  the  garment 
and  with  white  or  light  costumes  the  light  must  be  soft  enough  so 
as  not  to  render  chalky  whites  without  detail. 

Correct  development  of  the  exposures  will  do  much  in  accomplishing 
these  results,  and  will  be  explained  in  its  proper  place. 

Nine  hundred  and  ninety-nine  children  out  of  every 

Posing  thousand  are  naturally  graceful  and  will  pose  themselves 

far  better  than  you  can — and  right  here  remember  two 

"don'ts" — first,  don't  be  in  a  hurry,  and,  second,  don't  be  fussy.  And 

patience — you  must  be  Job  plus. 

The  tactful  Kodaker  can  coax  his  little  subjects  to  the  proper  place 
for  the  exposure,  and  then  wait  till  the  proper  moment  arrives. 

When  you  were  a  youngster  didn't  you  "just  hate"  to  have  any 
one  fussing  with  or  at  you,  pulling  down  your  skirts  or  straightening 
your  necktie  or  slicking  back  your  hair  or  saying,  "Don't  do  that, 
Jimmie,"  or  "Take  your  finger  out  of  your  mouth,  Susie"?  Just 
remember  your  own  childish  likes  and  dislikes  when  picturing  the 
kiddies. 


62  HOME  PORTRAITURE 


An  example  of  attractive  composition. 

If  you  have  a  pre-conceived  idea  for  a  picture,  the  only  way  you 
can  carry  it  out  successfully  is  to  get  the  youngster  or  youngsters 
interested  in  it;  in  fact,  to  play  some  game  with  them  that  will  finally 
work  them  into  the  arrangement  and  pose  you  desire. 

Most  youngsters  when  told  to  do  any  particular  thing  have  a  pre- 
adamite  desire  to  do  just  the  opposite. 

When  attempting  to  photograph  children  who  are  not  familiar 
with  the  Kodak  or  the  process,  place  the  Kodak  in  position  and  then 
go  about  doing  something  else  for  a  little  while  until  they  become 
accustomed  to  its  presence,  even  allowing  them  to  handle  it  if  they  so 
desire. 

Simple  costumes  photograph  best,  and  the  children  feel  more  at 
home  in  them.  White  and  the  lighter  colors  are  specially  well  adapted 
for  children's  costumes,  not  only  adding  to  the  youth  of  the  subjects 
but  allowing  you  to  make  a  shorter  exposure. 

When  it  comes  to  the  grown-ups  a  certain  amount  of  posing  is 
necessary,  though  as  you  become  accustomed  to  the  work  it  may  be 
minimized  by  so  arranging  the  seat  they  are  to  occupy,  or  the  other 
incidentals  of  your  picture,  that  they  will  involuntarily  assume  the 
pose  desired. 

A  successful  portrait  depends  upon  more  than  correct 
Suggestions  lighting,  exposure  and  development.  Full  length  and 
for  Posing  three-quarter  length  portraits  seem  to  express  more 
of  the  individuality  of  the  subjects;  but  the  more  of 
your  subject  you  include  in  your  picture  the  more  difficulties  you 
will  encounter.  In  every  instance  there  is  one  side  of  the  subject's 
face  that  will  photograph  better  than  the  other,  and  when  possible 
determine  this  point  before  placing  your  subject  in  front  of  the  Kodak. 


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A  tree  in  blossom  directly  outside  of  the  window,  shielded  the  light 
from  the  Kodak  lens.    Diagram  No.  1. 

Whether  the  portrait  shall  be  full  face,  three-quarter  or  profile 
will  be  determined,  of  course,  by  which  viewpoint  the  subject  shows 
to  the  best  advantage. 

With  persons  having  fairly  regular  features  and  good  complexion 
it  frequently  happens  that  good  portraits  can  be  obtained  from  almost 
any  angle,  but  in  most  cases  you  will  find  it  necessary  to  subdue  some 
feature  or  strongly  accentuate  some  others  to  produce  the  best  effect. 
As  an  example  take  a  young  man  with   very  prominent  ears;  it 
is  obvious  in  this  case  that  the  full  face  would  be  displeasing,  so,  turn 
the  face  slowly  away  from  the  light  un- 
til the  ear  nearest    the    light    disappears 
from  the  line  of  sight. 

The  ear  on  the  shadow  side  is,  of 
course,  subdued  by  the  shadow,  and  if  still 
too  prominent  you  can,  as  one  expedient, 
have  your  subject  rest  his  head  on  his 
hand,  placing  the  hand  just  forward  of 
the  ear,  or  the  shadow  can  be  deepened 
by  removing  the  reflector  to  a  greater  dis- 
tance from  that  side  of  the  face. 

Sometimes  the  chin  is  a  little  weak; 
tilting  the  head  slightly  upward  will  help, 
or  the  chin  can  be  rested  on  the  hand — 
a  profile  of  course  is  not  to  be  considered. 
Double  chins  can  be  treated  in  the  same 
way. 

Now   take   a   subject   with   a   massive 
Diagram  No.  i  lower  jaw;     place  him  squarely  facing  the 


A  conversational  pose 


HOME  PORTRAITURE 


65 


Kodak  and  you  will  note  that  the 
head  outline  is  nearly  rectan- 
gular. Request  him  to  turn  his 
head  slowly  away  from  the  light, 
and  stop  at  the  point  where  the 
head  outline  presents  an  oval 
form;  it  may  also  be  necessary 
to  tilt  the  head  up  or  down  a 
trifle  to  produce  the  most 
satisfactory  view. 

When  the  subject  has  a  very 
thin  face  or  high  cheek  bones, 
the  light  should  be  so  directed 
upon  the  face  as  to  fall  just 
below  the  point  of  the  cheek 
bone;  this  may  be  easily  accom- 
plished by  lowering  the  window 
shade,  blocking  the  window  a 
little  or  moving  the  subject  just 
a  trifle  further  from  the  light. 

You  quite  often  encounter  a 
subject  with  deep  set  eyes,  or 
wish  to  make  a  picture  with  the 
hat  shadowing  the  face.  In  such 
cases,  to  afford  sufficient  il- 
lumination to  the  eyes,  you 
must  turn  the  subject  more 
toward  the  light  or  use  a 
supplementary  reflector. 

Bald  heads  are  easy;  have 
some  one  hold  a  sheet  of  card- 
board over  the  head  between  the 
light  and  the  bright  spot,  just  out  of  range  of  the  lens. 

Particular  attention  should  always  be  paid  to  the  eyes,  as  the 
entire  facial  expression  depends  so  much  upon  them.  Have  them 
in  good  focus,  and  avoid  double  catch  lights.  When  eyeglasses  are 
worn  be  very  particular  to  see  that  the  glasses  do  not  show  a  blur 
from  reflected  light.  If  the  glasses  do  show  a  blur  when  viewed  with 
your  head  directly  in  front  of  the  lens,  turn  the  sitter's  face  slightly 
either  way,  until  the  blur  vanishes. 

When  portraying  the  full  figure,  you  naturally  have  a  few  more 
things  to  consider.  One  exceedingly  important  point  is  that  curves, 
not  angles,  make  for  beauty  and  harmony. 

Don't  fuss  much  with  your  subject.  If  the  figure  is  to  be  seated, 
request  the  subject  to  be  seated,  and  you  will  usually  find  that  a  quick 
pat  here  and  there  will  get  rid  of  any  ungainly  angles — if  not,  stop 
right  there  and  invent  some  excuse  to  have  the  subject  stand  up  for 
a  moment,  and  then  again  be  seated — it  doesn't  take  much  to  bore 
even  the  most  willing  subject  and  too  much  fussing  will  destroy  all 
chances  of  success. 


Simple  costumes  photograph  best 


A  simple  window  lighting 


HOME  PORTRAITURE 


67 


Watch  the  hands  carefully  and  do 
not  have  them  too  far  forward  from 
the  body  or  they  will  then  photograph 
out  of  proportion  with  the  face.  The 
hand  partially  closed  usually  presents 
a  better  appearance  than  when  clinched 
or  with  fingers  extended. 

Remember  always  that  the  face  is 
the  most  important  part  of  your  pic- 
ture, and  that  all  lines  should  lead  up 
to  it,  and  all  other  parts  should  be 
subordinated. 

These  few  suggestions  will  help 
you  to  avoid  the  more  common  errors, 
and  to  realize  the  necessity  for  you 
studying  your  subject  and  knowing 
what  you  want  to  do  before  you  make 
the  exposure. 

A     badly      chosen     back- 
Back-         ground  will  ruin  the   finest 
grounds    portrait  work,  so  it  is  most 
important  that  thought  be 
Just  a  snapshot  given  to  this  portion  of  your  picture. 

For  head  and  shoulder  portraits,  a  perfectly  plain  ground  is  desirable 
utilizing  the  wall  of  the  room  when  covered  with  plain  paper,  or  sus- 
pending some  plain  fabric,  drawn  taut  to  prevent  wrinkles,  behind 
the  subject  when  the  wall  covering  is  objectionable. 

For  full  figures  and  groups  some  detail  in  the  background  is 
permissible,  but  in  any  case  it  must  be  subdued,  and  in  no  way  attract 
the  attention  from  the  portrait  part  of  your  picture. 

In  a  good  many  of  the  little  home 
pictures  detail  in  the  background  and 
accessories  is  worth  while,  provided  it 
is  not  too  prominent. 

Take  for  instance  a  group  around 
the  piano;  lack  of  detail  in  the  piano 
would  be  foolish;  or  if  you  were 
making  a  picture  of  the  kiddies 
playing  in  the  nursery,  detail  in  the  wall 
and  furnishings  in  the  room  would  be 
in  harmony  with  your  pictures. 

Detail  is  all  right  so  long  as  it 
does  not  detract  from  the  human 
interest  in  your  picture. 

Tank  Development, 
Developing  first,  last  and  all  the 
time,  not  only  for 
portraiture  but  for  every  sort  of 
exposure,  as  it  is  not  only  the  simplest 
and  easiest  method,  but  "gives  the 

best  possible  results.  Have  your  picture  tell  a  story 


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A  dignified,  yet  thoroughly  natural 
pose.     Diagram  No.  2. 


Develop  for  twenty  minutes,  as 
this  seems  to  give  just  the  right 
printing  quality  for  portraiture.  If 
however,  you  employ  the  dark-room 
method  do  not  carry  your  development 
quite  as  far  as  for  landscapes, 
and  especially  so  when  your  subjects 
are  gowned  in  white,  as  too  long 
development  is  apt  to  clog  up  the 
whites  and  prevent  the  correct  render- 
ing of  detail  in  the  print. 

A  desirable  companion 
Printing  for  the  Kodak  Film 

Tank  is  the  Kodak 
Amateur  Printer,  a  printer  that  fits 
in  very  nicely  with  the  Kodak  scheme 
of  simplicity  and  efficiency. 

Outdoor  portraits 
Outdoor  should  never  be  made 
Portraiture  where  the  full  light  of 

the  sun  falls.  Select  a 
spot  away  from  the  sun,  but  one 
where  the  direct  light  from  the 
sky  will  fall  upon  your  subject.  The 
light  is  softest  before  ten  in  the 
morning  and  after  four  in  the  afternoon. 
This  refers  to  the  summer  months, 
the  winter  months  are  not  altogether 
favorable  for  making  outdoor  portraits. 
A  clump  of  shrubbery  makes  an 
excellent  background  if  the  subject  is 
placed  several  feet  in  front  of  it,  and 
the  lens  used  with  a  large  opening. 


Reflectors  and  that  sort  of  thing  are 
not  of  much  account  in  this  class  of  work 
nor  can  you  do  much  in  the  way  of  fancy 
lightings,  but  you  can  produce  a  goodly 
amount  of  most  satisfactory  work,  with 
comparatively  little  effort. 

It  is  a  rule  among  painters 
Spacing  that  the  picture  must  fill 
and  the  canvas;  in  other  words, 

Trimming  anything  that  is  not  of 

interest  or  is  detrimental 
to  the  chief  object  in  the  picture  must 
not  be  included.  In  some  instances, 
however,  it  is  not  possible  to  place  the 
subject  or  the  camera  so  as  to  include 
only  what  is  wanted;  the  remedy  then 


QSUBJECT 


* 


D 
KODAK 


Diagram  No.  2 


HOME  PORTRAITURE 


is  to  trim  your  print  till  only 
the  true  picture  remains. 

A  few  suggestions  in  spacing 
may  not  come  amiss: 

In  full  or  three-quarter 
length  portraits  a  very  short 
person  may  be  made  to  appear 
taller  by  spacing  the  picture  so 
that  the  head  comes  close  to 
the  top  of  the  print;  a  low 
chair  or  table  will  also  serve 
to  produce  this  effect.  Persons 
of  unusually  large  size  are  a  bit 
careful  as  to  the  furniture 
upon  which  they  trust,  their 
weight^  so  it  may  be  unnecessary 
for  us  to  suggest  refraining 
from  the  use  of  small  or  frail 
furniture  when  posing  such 
subjects.  In  spacing  pictures 
of  children  allow  a  little  more 
space  at  the  top  than  for  adults, 
as  this  gives  a  better  impression 
of  their  size. 

Some  very  good  artists  claim 
that  it  is  permissable  to  cut  off 
part  of  the  head  or  head  gear  in 
the  picture  but  never  the  feet 
or  hands.  Usually  all  of  these 
important  parts  can  be  included  without  detriment  to  the  picture. 

Too  much  blank  space  around  your  subject  is  almost  as  bad  as 
too  much  detail,  and  some  small  object,  such  as  a  picture  or  vase,  can  be 

introduced,  provided  it  is  so  placed  as  not  to 

interfere  with  the  rest  of  the  composition. 

The  more  you  study  the  art  of  filling 
your  space  the  less  trimming  you  will 
have  to  do,  but  when  you  do  have  to  trim, 
trim  mercilessly. 

Just  as  many  good  photo- 
Mounting  graphs  have  been  spoiled  by 

bad  mounting  as  paintings 
have  been  spoiled  by  inappropriate  framing. 
As  the  mount  forms  the  setting  for 
your  picture,  some  thought  must  be  given 
to  its  selection,  both  as  to  color,  shade 
and  size. 

Fortunately  most  of  the  mount 
manufacturers  have  given  a  good  deal  of 
time  and  thought  to  the  production  of 


Baby's  interest  held  by  something  outside 
the  window.    Diagrs 


Q 

KODAK 


Diagram  No.  3 


Full  illumination  with  but  very  short  exposure.     Diagram  No.  3. 


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71 


A  flash-light  portrait — Eastman  Flash  Sheet.    Diagram  No.  4. 


O SUBJECT 


KODAK 


PLASH 


Diagram  No.  4. 


harmonious  and  appropriate  mountings  for 
all  classes  of  work,  so  the  danger  of 
inappropriate  selection  is  largely  minimized. 

One  of  the  first  things  to  consider  is 
color.  The  color  of  the  mount  must 
harmonize  with  the  tone  of  the  print.  Black 
and  white  prints  should  not  be  mounted 
on  brown  or  any  of  the  warmer  shades; 
select  rather  one  of  the  soft  grays,  black 
or  white.  Where  the  print  contains  very 
strong  high-lights  a  pure  white  mount 
may  be  used,  but  when  the  tones  are 
subdued  the  use  of  gray  is  advised  as  the 
strong  white  would  degrade  the  high-lights 
of  your  soft  print.  Black  mounts  may 
be  used  with  prints  containing  deep 
shadows,  for  the  same  reason.  With 
warmer  toned  prints,  such  as  sepias, 


72 


HOME  PORTRAITURE 


Made  with  Kodak  focused  at  8  feet 
without  Portrait  Attachment. 


Made  with  Kodak  and  Kodak  Portrait 
Attachment  focused  at  3H  feet. 


browns  and  dark  purples,  the  various  shades  of  brown,  green  and  even 
subdued  reds  may  be  used  to  advantage. 

The  Kodak  Portrait  Attachment  is  simply  an  extra 
lens  so  mounted  as  to  slip  over  the  front  of  the  regular 
Kodak  lens. 


The  Kodak 

Portrait 

Attachment 


With  this  little  attachment  in  place  one  can  work 
close  to  the  subject,  and  obtain  large  head  and  shoulder 
portraits.     But  this  is  by  no  means  the  extent  of  its  usefulness,  as 
it  can  be  used  for  photographing  small  animals,  flowers  and  the  like, 
obtaining  much  larger  images  than  are  possible  without  its  use. 

The  illustrations  on  this  page  most  clearly  demonstrate  its  usefulness 
in  portraiture. 

Now  let  us  call  to  your  attention  some  of  the  illus- 
Some  of  trations  that  help  to  bring  out  the  points  in  the  text. 

the  Pictures  And,  as  you  study  these  pictures,  you  will  see  how 

simple  they  are,  and  how  they  were  made  under 
conditions  that  can  be  duplicated  in  practically  every  home. 

The  picture  on  page  56  was  taken  almost  directly  against  the 
sunlight.    Although  very  pretty  lighting  effects  may  often  be  secured 


HOME  PORTRAITURE  73 

in  this  way,  proper  care  should  always  be  taken  to  guard  against 
halation.  In  this  case  the  photographer  stood  between  the  lens  and 
the  light,  that  is,  the  shadow  of  his  body  was  cast  over  the  lens  while 
the  exposure  was  being  made. 

In  the  picture  on  page  63  you  will  notice  that  most  of  the  light 
comes  from  the  window  directly  opposite  the  subject  and  not  included 
in  the  angle  of  view  of  the  Kodak  (see  diagram).  The  window  facing 
the  Kodak  is  screened  by  blossoms  outside.  The  lens  is  therefore 
cutting  across  the  light,  a  very  satisfactory  arrangement. 

The  picture  on  page  70  shows  a  simple  method  of  producing  the 
full  illumination  demanded  for  very  short  exposures  by  working  close 
to  and  almost  against  the  light. 

When  the  picture  on  page  69  was  made  the  attention  of  the  baby 
was  held  by  having  one  of  the  other  youngsters  go  outside  and  throw 
snpwb'alls  against  the  side  of  the  house.  Usually  some  little  trick  like 
this  will  save  the  day  when  orthodox  methods  fail. 

In  this  picture,  as  in  others  throughout  the  book  where  a  window 
is  included  in  the  angle  of  view  of  the  Kodak,  the  light  of  the  sky  was 
screened  from  the  lens  so  as  to  prevent  halation.  In  this  particular 
case,  a  projecting  wing  of  the  house  served  as  a  screen.  Remember 
that  it  is  the  point  of  view  of  the  lens  that  concerns  you. 

A  simple  and  very  satisfactory  method  of  utilizing  the  Eastman 
Flash  Sheets  for  flash-light  portraiture  is  shown  on  page  71.  The 
position  of  subject,  Kodak  and  flash  is  indicated  in  the  accompanying 
diagram. 

The  pictures  on  page  72  demonstrate  the  wonderful  possibilities 
of  the  little  Kodak  Portrait  Attachment,  when  used  with  ordinary 
outdoor  lighting,  by  following  the  simple  methods  outlined.  Bear 
in  mind,  however,  the  fact  that  at  such  short  range,  the  distances 
must  be  absolutely  accurate.  Use  a  tape  measure,  measuring  from 
the  lens  to  the  eyes  of  the  subject. 

The  picture  on  page  62  is  an  example  of  home  portraiture  with  the 
Kodak  Portrait  Attachment.  For  similar  informal  pictures  place  the 
camera  at  the  correct  distance  from  the  subject  (four  feet  in  the  case 
of  our  illustration),  and  make  the  exposure  at  a  favorable  moment. 

The  illustrations  on  pages  58,  65  and  67  are  just  little  outdoor 
pictures — yes,  just  "snapshots",  but  they  possess  a  naturalness  that 
makes  Daddy,  away  from  home,  mighty  glad  to  pull  them  out  and 
look  them  over  pretty  often. 

None  of  the  illustrations  lay  claim  to  being  masterpieces.  They 
were  all  made  under  ordinary  light  conditions,  with  a  Kodak  and 
on  Kodak  Film,  and  any  one  can  produce  equally  successful  results 
by  following  the  instructions  in  your  Kodak  manual  and  the  few  addi- 
tional pointers  offered  here. 


Flash-light   Portraiture 


THE  flash-light  has  done 
much  to  broaden  the 
sphere  of  the  amateur 
photographer.  It  has  made 
him  absolutely  independent  of 
daylight  for  the  making  of 
portraits  and  other  indoor 
pictures,  and  has  even  made 
possible  the  taking  of  certain 
classes  of  outdoor  pictures 
at  night. 

As  the  amateur  has 
comprehended  the  artistic 
possibilities  of  flash-light  for 
illumination,  and  how  simply 
all  lightings  may  be  ob- 
tained, he  has  in  some 
instances  practically  aban- 
doned daylight  for  portrait 
making. 

In  this  chapter  we  will 
confine  ourselves  to  the  use 
of  the  Eastman  Flash 
Sheets  and  the  Eastman 
Spreader  Flash  Cartridges, 
as  these  afford  the  simplest 
means  for  amateur  flash- 
light illumination. 


One  Eastman  Spreader  Flash  Cartridge 
7  feet  from  subject 
7  feet  from  floor. 
Medium  dark  walls. 
Subject  6  feet  from  camera. 


FLASH-LIGHT  PORTRAITURE 


78 


B2ST 


CAMERA 
Q 


Two  flashes,  total  exposure  about 
two  seconds. 

One-half  No.  3  Eastman  Flash 
Sheet  in  fireplace. 

One-half  No.  3  Eastman  Flash 
Sheet  three  feet  to  right  of 
subject  six  feet  from  floor. 

Dark  walls. 


Subject  12  feet  from  camera. 

Flash  Sheet  in  fireplace  should  be  placed  behind  a  piece  of  wood 
or  cardboard  to  prevent  glare. 


70 


FLASH-LIGHT  PORTRAITURE 


A  flash-light  is  the  illumination  secured  by  the  ignition 
What  a  and  combustion  of  certain  chemical  compounds,  or 

Flash-light  by  the  passing  of  pure  magnesium  through  a  flame. 
Is  The  illumination  thus  produced  is  of  powerful  actinic 

quality,  and  of  extremely  brief  duration,  and  unless 
handled  understandingly,  is  apt  to  produce  too  great  contrasts  in 
lighting  to  be  satisfactory  to  artistic  tastes.  It  is,  however,  a  very 
simple  matter  to  place  and  control  your  flash-light  so  as  to  make 
it  much  more  certain  than  daylight  and  to  yield  exactly  the  proper 
degrees  of  contrast  or  softness. 


One  Eastman  Spreader  Flash  Cartridge. 
7  feet  from  subjects,  3  feet  from  floor. 
White  cotton  cloth  reflector. 
Medium  dark  walls. 
Subjects  8  feet  from  camera. 


For  work  in  the  open,  or  well-lighted  interiors,  daylight 
Flash-light  is,  of  course,  highly  satisfactory,  as  we  are  accustomed 
and  to  its  strength,  and  can,  in  a  sufficiently  accurate  manner 

Daylight  determine  the  length  of  exposure.  On  the  other  hand, 

and  particularly  in  the  making  of  portraits,  the  amateur 


FLASH-LIGHT  PORTRAITURE 


77 


is  ususally  confined  to  the  use  of  rooms  improperly  or  insufficiently 
illuminated  for  his  purpose.  With  daylight,  even  though  he  possesses 
unusual  ability  in  arranging  and  controlling  his  light,  he  is  often  handi- 
capped by  being  unable 
to  direct  his  light  to  just 
the  proper  point  or  to 
obtain  it  in  sufficient  volume 
just  when  he  needs  it. 
With  the  proper  flash- 
light the  amateur,  after 
but  a  few  experiments,  is 
dealing  with  an  absolutely 
known  quantity.  He  knows 
to  a  certainty  just  how  much 
illumination  each  flash  sheet 
or  each  flash  cartridge  will 
provide,  and  that  he  may 
direct  his  light  to  fall  abso- 
lutely in  the  desired  place, 
as  he  may  place  his  flash  so 
that  the/ rays  of  light  will 
proceed  in  any  direction. 


One  Eastman  Spreader  Flash  Cartridge. 

6  feet  from  subject. 

2  feet  higher  than  subject's  head. 

White  oilcloth  reflector  behind  subject. 

Cheesecloth  screen  between  flash  and  subject. 

Dark  walls. 

Subject  6  feet  from  camera. 


In  making  a  portrait  with  the  aid  of  a  flash-light,  we  must  remem- 
ber that  we  are  attempting  to  duplicate  the  action  of  daylight,  and 
consequently  the  same  rules  that  apply  to  daylight  portrait  making 
will  be  necessary. 

As  previously  stated,  a  portrait  must  not  only  be  a  good  likeness, 
but  to  be  pleasing,  must  in  addition,  present  the  subject  in  the  most 
favorable  pose  and  lighting  without  undue  contrasts,  and  with  good 
gradation  between  the  highest  lights  and  deepest  shadows.  It  may 
be  accepted  that  the  most  pleasing  illumination  is  secured  by  allowing 
the  light  to  fall  on  the  features  at  an  angle  of  forty-five  degrees,  though 
exceptions  to  this  rule  may  be  made  as  explained  later.  In  making 
a  portrait  by  daylight  you  could  not  expect  to  secure  results  by  placing 


78 


FLASH-LIGHT  PORTRAITURE 


One  No.  3  Eastman  Flash  Sheet. 
8  feet  from  subjects,  7  feet  from  floor 
With  cotton  cloth  reflector. 

Flash  placed  in  angle  of  two  large  sheets  of 
cardboard  to  act  as  reflector  and  to 
shield  lens  from  flash. 

Medium  dark  walls. 
Subjects  12  feet  from  camera. 


FLASH-LIGHT  PORTRAITURE  79 

your  subject  and  camera  in  any  position  regardless  of  the  light,  but 
rather  would  have  to  spend  some  time  in  placing  your  subject  and  in 
arranging  the  control  of  your  light  so  that  if  falls  in  the  proper  place. 
When  using  flash-light,  the  same  precautions  must  be  observed,  only 
your  task  will  be  easier,  as  you  may  always  be  sure  of  the  requisite 
amount  of  light  and  also  of  your  ability  to  control  it. 

The  essentials  of  flash-light  picture  making  are  few:  The  Kodak 
and  film,  a  firm  and  easily  adjusted  support  for  the  camera  during 
exposure  (preferably  a  tripod,  with  corks  on  the  spikes  on  the  legs 
to  prevent  slipping,  or  an  R.  O.  C.  Tripod  Truck  specially  designed 
for  this  purpose),  a  package  of  Eastman  Flash  Sheets  or  Eastman 
Spreader  Flash  Cartridges,  according  to  the  work  in  hand,  a  screen 
or  filter  for  diffusing  the  light  and  a  simple  reflector  for  softening 
shadows.  When  the  flash  is  at  a  considerable  distance  from  the  subject, 
a  reflector  behind  the  light  may  be  used  advantageously  to  increase 
the  volume  of  light,  instead  of  a-screen  before  it  to  diffuse  the  light. 

For  all  ordinary  work,  in  rooms  of  average  size,  we  recommend 
the  Eastman  Flash  Sheets  and  Kodak  Flash  Sheet  Holder.  The 
sheets  are  exceedingly  simple  to  handle  and  requiring  about  one  second 
to  consume,  afford  a  broad,  soft  light.  In  photographing  children, 
or  any  subject  likely  to  move  during  the  exposure,  we  advise  the  use 
of  the  Eastman  Spreader  Flash  Cartridges,  as  they  are  instantaneous 
and  give  a  brilliant,  powerful  light.  As  some  subjects  are  apt  to  become 
nervous  during  your  preparations  for  the  exposure,  do  not  neglect 
to  reassure  them,  and  avoid  all  appearance  of  nervousness  yourself, 
proceeding  calmly  and  slowly  with  each 
operation.  When  using  daylight  for  illum- 
ination, the  subject  must  be  placed  with 
regard  to  the  window  opening,  but  with 
flash-light  the  subject  may  be  placed  any- 
where in  the  room,  as  most  convenient,  and 
with  the  camera  at  the  proper  distance  the 
flash  may  be  placed  in  any  position  necessary 
to  produce  the  desired  lighting. 

A  convenient  method  of  using  the  East- 
man Flash  Sheets  is  to  provide  a  strip  of 
wood  about  eight  feet  long  and  about  the 
thickness  of  an  ordinary  lath,  to  which  the 
flash  sheet  may  be  pinned;  this  strip  may  be 
tied  to  the  back  of  a  chair,  in  an  upright 
position,  as  it  then  can  be  easily  moved  to 
any  point  in  the  room.  But  the  safest  and 
simplest  way  of  using  flash  sheets  is  by 
means  of  the  Kodak  Flash  Sheet  Holder, 
which  takes  care  of  every  emergency. 

It  may  be  held  in  the  hand,  always  between  you  and  the  flash 
sheet.  Or  the  handle  may  be  unscrewed  and  the  holder  attached 


FLASH-LIGHT  PORTRAITURE 


One  No.  3  Eastman  Flash  Sheet 

7  feet  from  subject 

7  feet  from  floor. 

White  cotton  cloth  reflector. 

Lens  shielded  by  sheet  of  cardboard  during 

exposure. 

Medium  colored  walls. 
Made  with  Kodak  Portrait  attachment. 
Stop  U.  S.  8. 
Subject  3J^  feet  from  camera. 


FLASHLIGHT  -  PORTRAITURE 


si 


to  any  ordinary  tripod  being  provided  with 
a  socket  for  that  purpose. 

The  sheet  is  placed  in  position  in 
the  center  of  the  larger  pan  over  the 
round  opening,  which  has  a  raised 
saw-tooth  edge  extending  halfway  around 
it.  Press  with  the  thumb  on  the  sheet, 
so  that  a  slight  break  is  made  and  a 
portion  of  the  sheet  projects  partially 
through  the  opening.  Then  to  insure  the 
sheet  being  more  securely  fastened,  press 
around  the  notched  edge,  forcing  this 
portion  of  flash  sheet  firmly  into  position 
on  the  pan. 

Then  to  set  off  the  flash,  merely  insert  — 

a  lighted  match,   from  behind,   through  the   round  opening  in  the 
center. 

It  is  obvious  that  with  this  holder  the  flash  can  be  held  in  any 
position  or  at  any  height  in  the  room  and  it  is  a  very  great  convenience. 
The  white  fireproof  lining  of  the  Kodak  Flask  Sheet  Holder  acts  as  a 
reflector  and  will  increase  the  strength  of  the  light. 

Never  place  more  than  one  sheet  in  the  Kodak  Flash  Sheet 
Holder  at  a  time.  If  two  or  more  are  used,  one  will  be  liable  to  blow 
off  and  drop  on  the  floor  while  still  burning. 

When  using  flash-light  cartridges,  handle  them  with 
care  and  according  to  directions,  as  the  contents  are,  by 
their  very  nature,  highly  inflammable.  A  convenient 
method  of  using  the  Eastman  Spreader  Flash  Cartridge 
in  connection  with  the  Spreader  Pistol  is  to  take  a  strip 
of  wood  about  eight  feet  long,  and  fasten  the  pistol  to 
one  end  with  nails  or  screws.  Then  by  attaching  a 
short  piece  of  picture  wire  to  the  trigger  of  the  pistol, 
and  letting  it  run  down  the  side  of  the  stick  to  the 
other  end,  you  have  an  exceedingly  simple  and  handy 
flash  machine.  With  this  device  the  operator  may 
remain  near  the  camera  and  watch  the  subject  from  the 
same  point  of  view  as  the  lens,  and  at  the  proper 
moment  place  the  light  just  where  he  wants  it.  Before 
attempting  this  method  be  sure  that  no  lace  curtains  or 
other  inflammable  materials  are  apt  to  come  within 
reach  of  the  flame,  as  the  light  spreads  out  from  the 
cartridge  quite  a  distance.  In  addition  to  the  light, 
another  most  important  requisite  for  doing  good  flash- 
light work  is  a  film  or  plate  which  is  rapid,  ortho- 


82 


FLASH-LIGHT  PORTRAITURE 


Eastman  Flash  Sheets. 

5  feet  from  subjects,  6  feet  from  floor. 

White  cotton  cloth  reflector. 

Cheesecloth     screen      between      flash      and 
subjects. 

Medium  dark  walls. 
Subjects  10  feet  from  camera. 


FLASH-LIGHT  PORTRAITURE  83 

chromatic  and  non-halation.  Do  not  attempt  to  make  a  flash-light 
portrait  on  any  film  or  plate  not  possessing  these  qualities,  and  as  they 
are  all  combined  in  Kodak  Film,  it  is  the  ideal  medium  for  this  work. 

Now  as  to  the  actual  work.  We  will  assume  that  it  is  evening, 
but  suggest,  if  daytime  be  selected,  that  you  do  not  have  too  much 
daylight  in  the  room.  Pull  down  the  window  shades  and  turn  on 
the  lights,  as  if  it  were  evening.  When  making  the  exposure  do  not 
turn  down  the  lights,  but  leave  them  burning  brightly.  The  light 
will  do  no  harm,  and  will  prevent  the  dilation  of  the  pupils  of  the 
eyes  of  the  subject  and  avoid  the  stare  so  often  in  evidence  in  flash- 
light pictures.  The  color  of  the  walls  and  ceiling  and  the  size  of 
the  room  will  have  much  to  do  with  the  result.  Select,  if  possible, 
a  room  of  medium  size,  with  light-colored  walls  and  ceiling;  this  will 
produce  a  general  diffusion  of  the  light  and  aid  greatly  in  softening 
the  effect.  The  first  thing  to  be  considered  is  the  size  of  the  flash 
sheet  to  be  used  and  its  position. 

The  Eastman  Flash  Sheets  are  made  in  three  sizes,  3  x  4,  4  x  5, 
and  5x7  inches,  and  numbered  one,  two  and  three,  according  to  size. 
The  proper  size  of  the  sheet  to  use  will  be  determined  by  the 
complexion  of  the  subject,  the  color  of  the  room,  and  the  distance 
of  the  light  from  the  subject.  For  example,  if  the  subject  is 
of  fair  complexion,  with  light  hair  and  white  dress,  and  if  the  room 
is  of  medium  size  and  light  walls  and  hangings,  a  No.  1  Flash  Sheet 
would  be  sufficient,  placed  at  a  distance  of  about  six  feet.  For 
medium  complexions  use  a  No.  2  sheet,  and  for  very  dark,  a 
No.  3,  or  put  the  No.  2  sheet  a  little  closer  to  the  subject.  The 
further  the  subject  is  from  the  light,  the  softer  the  effect.  Strong, 
bold  lightings  are  obtained  by  placing  the  light  close  to  the  subject. 

As  a  basis  to  work  from:  Six  feet  is  about  the  proper  distance 
for  the  best  results  in  average  cases.  At  a  distance  of  eight  feet, 
to  secure  full  illumination,  use  a  No.  3  Flash  Sheet,  and  for  any 
distance  less  than  six  feet  a  No.  1  Flash  Sheet  will  give  sufficient  light 
under  average  conditions.  The  light  may  be  placed  anywhere 
except  within  immediate  range  of  the  lens,  but  its  exact  position  will 
depend  upon  the  style  of  lighting  desired,  and  the  individual  char- 
acteristics of  the  subject.  An  idea  prevails  among  beginners  that 
the  light  should  never  be  placed  anywhere  except  behind  the  camera, 
as  it  might  cause  a  reflection  of  light  into  the  lens,  but  the  light  may 
be  placed  anywhere  except  inside  the  limits  of  the  picture  without 
trouble  from  reflections.  In  some  instances  an  opaque  screen 
may  have  to  be  used,  to  cut  off  such  rays  of  light  as  would  reflect  into 
the  lens,  but  these  cases  are  so  obvious  as  not  to  demand  further 
explanation.  A  common  error  among  beginners  is  that  they  do 
not  place  the  light  high  enough.  If  the  light  is  placed  six  feet  distant 
from  the  subject,  it  should  be  placed  about  three  feet  higher  than 
the  head  of  the  subject,  in  order  to  give  correct  modeling  of  the  features, 
and  the  desired  softness.  There  are  exceptions  to  this  rule,  as  in 
the  case  of  a  subject  with  deep-set  eyes  and  heavy  eyebrows,  or  a  subject 
with  a  large  hat,  when  it  is  desired  that  the  hat  should  not  cast  a  shadow 
on  the  face.  In  such  cases  the  light  should  be  lower.  A  reflector  and 
screen  are  important  aids  in  obtaining  artistic  results.  It  is  obvious 


FLASH-LIGHT  PORTRAITURE 


that  unless  some  means  are  provided  to  equalize  the  lighting  on  the 
sides  of  the  face,  the  contrast  will  be  too  strong,  and  the  "chalk  and 
soot  effect"  will  be  much  in  evidence.  The  reflector  for  softening 
contrasts  is  a  simple  contrivance.  For  a  bust  portrait,  with  the  subject 
seated,  a  white  towel  fastened  over  the  back  of  a  high-backed  chair 
will  serve  the  purpose;  do  not  place  the  reflector  too  low,  as  the  reflected 
light  coming  up  from  below  will  be  apt  to  flatten  the  shadow  side 
of  the  face.  The  reflector  should  also  be  placed  a  little  forward  of 
the  sitter,  as  this  affords  better  half-tones  between  the  highest  lights 
and  shadows,  and  also  serves  to  prevent  any  stray  rays  of  light  from 
reflecting  into  the  lens.  With  standing  figures,  a  small  sheet  or  any 
light-colored  material  (except  yellow  or  red)  may  be  hung  over  a 
string  or  tape  fastened  across  any  part  of  the  room,  with  thumb  tacks, 
so  that  it  occupies  the  desired  position.  The  light  screen  or  filter 
can  be  similarly  arranged  on  another  tape.  This  screen  should  be 
of  white  cheesecloth,  and  at  least  a  yard  square.  A  convenient  method 
is  to  tack  the  cloth  to  a  light  wooden  frame,  about  a  yard  square. 
If  a  tripod  socket  be  inserted  in  one  side  of  the  frame,  an  extra  tripod 
may  be  utilized  to  hold  the  screen  in  any  desired  position. 

The  diagram  below  illustrates  one  of  the  many  ways  in  which 
the  reflector  and  light  screen  or  filter  may  be  used. 

Many  houses  have  arches  or  folding  doors  between  the  rooms, 
with  portieres  which  may  be  utilized  for  a  background,  attaching 

one  end  of  the 
reflector  and  screen 
by  strings  or  tapes 
to  each  end  of  the 
curtain  pole,  and 
tying  the  other 
ends  to  the  chan- 
delier, usually 
found  above  the 
center  of  the 
room.  Every  room 
has  a  number  of 
door  or  window 
casings,  to  the  side 
of  which  a  pin  or 
tack  may  be  driven  without  damage,  and  these  offer  sufficient  oppor- 
tunity for  varying  the  arrangement  shown  in  the  diagram,  to  obtain 
exactly  the  lighting  desired. 

Let  us  now  arrange  our  subject  for  an  exposure,  taking  for  example 
a  lighting  and  pose  similar  to  the  one  on  page  82.  If  you  are  using 
a  flash  sheet  without  the  Kodak  Flash  Sheet  Holder,  you  should  ignite 
the  flash  sheet  by  means  of  a  match  fastened  in  a  split  stick,  at  least 
two  feet  long,  or  better  still,  with  one  of  the  long-handled  gas  lighters 
provided  with  a  wax  taper.  All  being  in  readiness,  open  the  shutter 
and  quickly  light  the  flash  sheet;  as  soon  as  it  is  consumed,  close  the 
shutter.  Do  not  hurry,  as  the  illumination  given  by  the  gas  flame  or 
electric  light  will  not  make  any  impression  on  your  film  in  the  short 
time  necessary  to  close  the  shutter  after  the  exposure  has  been  made. 


DINING  ROOM 


SITTING  ROOM 


FLASH-LIGHT  PORTRAITURE       ;;  85 

Tank  development  is  the  ideal  method  for  development  of  flash- 
light exposures,  as  it  not  only  brings  out  everything  the  exposure 
is  capable  of  yielding,  but  the  negatives  will  have  just  the  right  quality 
for  portraiture. 

The  R.  O.  C.  Tripod  Truck  is 
a  most  convenient  accessory  for 
flash-light  and  other  work,  where 
a  tripod  is  employed  indoors. 

Placed  on  this,  the  tripod  legs 
are  held  firmly  in  position  by  quick 
acting  spring  catches,  and  of 
course  there  is  no  possibility  of 
slipping  or  the  tripod  spikes 
marring  floor  or  carpet. 

T,he  truck  is  fitted  with  castors, 
making  it  a  very  simple  matter  to 

move  the  camera  about  the  room  to  any  position.     Folds  compactly 
when  not  in  use  and  is  perfectly  solid  when  extended. 

SUMMARY 

The  following  summary  of  conditions  necessary  for  successful 
results  must  be  given  careful  consideration: 

a — Position  of  light. 

1.  Correct         b — Proper  diffusion  of  light  by  screen. 
Lighting  c — Distance  of  light  from  subject. 

d — Proper  placing  of  reflector. 

a — Size  of  flash. 

2.  Correct         b — Size  and  color  of  room. 
Exposure  c — Color  of  subject. 

d — Distance  of  light  from  subject. 

a — Suitable  developing  formula, 
b— Proper  strength  of  developer. 
c—Duration  of  development. 

The  illustrations  for  this  chapter  were  all  made  on  Kodak  Film, 
and  with  either  the  Eastman  Flash  Sheets  or  Eastman  Spreader  Flash 
Cartridges. 

The  diagrams  accompanying  the  illustrations  fully  explain  just 
how  each  picture  was  made,  and  the  amateur  following  the  simple 
instructions  should  experience  no  difficulty  in  producing  equally  suc- 
cessful results. 

INTERIORS  BY  FLASH-LIGHT 

The  foregoing  chapter  thoroughly  covers  the  ground  of  Flash-light 
Portraiture,  but  we  wish  to  follow  it  up  with  a  few  remarks  upon  flash- 
light work  in  a  general  way.  Aside  from  the  making  of  portraits  there 
are  many  uses  for  the  flash-light. 


86  INTERIORS  BY  FLASH-LIGHT 

Frequently  it  is  desired  to  take  a  photograph  of  an  interior,  which, 
by  reason  of  a  lack  of  illumination,  or  because  some  window  which 
cannot  be  covered  comes  within  range  of  the  camera,  is  impracticable 
by  daylight.  In  such  cases  a  flash-light  solves  the  problem.  Again, 
it  is  desired  to  photograph  a  very  large  room  which  is  lighted  from 
only  one  side  by  daylight.  To  get  a  fully  timed  exposure  in  the  darkest 
corner  of  the  room  would  cause  a  decided  over-exposure  near  the 
windows.  A  flash-light,  concealed  from  direct  line  with  the  lens  by 
some  article  of  furniture  or  by  a  screen,  illuminates  the  dark  corner 
and  gives  a  properly  lighted  exposure  of  the  entire  room. 

These  are  the  ordinary  uses  of  the  flash-light,  and  by  following 
the  simple  rules  laid  down,  the  amateur  can  make  pictures  with  as 
great  an  assurance  of  success  as  when  making  snapshots  out  of  doors. 
For  the  production  of  unusual  effects,  however,  one  must  study  all 
the  conditions,  weighing  carefully  cause  and  effect,  and  must  not  yield 
to  disappointment  if  success  is  not  obtained  at  first. 

There  are  many  ways  in  which  the  flash  may  be  made  to  co-operate 
with  other  artificial  light,  or  with  daylight,  to  produce  a  unique  or 
artistic  effect,  and  to  the  serious  worker  it  offers  another  means  to 
the  end  desired  by  all  photographic  workers — pictorial  effect. 

The  Eastman  Flash  Sheets  provide  a  simple  and 
Flash  effective  method  of  producing  the  flash.  Being  of 

Sheets  great  actinic  power  they  impress  the  image  upon  the 

sensitive  surface  of  the  film  or  plate  quickly,  although 
the  flash  is  less  blinding  than  that  of  ordinary  powders. 

The  fact  that  flash  sheets  burn  slowly  as  compared  with  flash 
powder  makes  them  far  safer  to  use — the  danger  from  explosion  by 
careless  handling  being  reduced  to  a  minimum. 

For  photographing  dark  corners  when  photographing  interiors 
by  daylight,  for  portraiture  and  small  groups,  the  Eastman  Flash 
Sheets  afford  an  ideal  means  of  illumination,  but  for  large  rooms 
and  for  groups  of  ten  or  more  persons,  the  Eastman  No.  3  Flash  Cart- 
ridges should  be  employed,  as  they  give  a  great  amount  of  light.  Except 
for  extra  large  rooms  or  groups  the  No.  2  Cartridge  will  provide  sufficient 
light  with  stop  16. 

For  interior  work,  the  Eastman  Flash  Sheets  may  be  used  according 
to  the  following  table: 

Subject  at  10  feet  and  light  walls  and  hangings  use  one  No.  1  sheet 
«  «  10  "  "  dark  •  .  *  «  «  "  No.  2  sheet 
«  «  15  "  «  light  «  «  "  «  "  No.  2  sheet 

«       «    15    "       "    dark     "       "  "  "       "    No.  3  sheet 

As  stated  on  page  81,  two  or  more  flash  sheets  should  never  be 
superimposed  one  upon  the  other,  or  a  number  of  sheets  be  pinned 
with  corners  over-lapping,  as  the  "combustion  is  somewhat  rapid  and 


INTERIORS  BY  FLASH-LIGHT  87 

there  is  the  possibility  of  a  sheet  blowing  off  and  dropping  on  the  floor 
while  burning. 

Arrange  the  chairs  in  the  form  of  a  semi-circle,  facing 
Groups  the  camera,  so  that  each  chair  will  be  exactly  the  same 

distance  from  the  camera.  Half  the  persons  composing 
the  group  should  be  seated  and  the  rest  should  stand  behind  the  chairs. 
In  case  any  of  the  subjects  are  seated  on  the  floor  the  limbs  should  be 
drawn  up  close  to  the  body,  not  extended  towards  the  camera.  If 
this  is  not  done  the  feet  will  appear  abnormally  large  in  the  picture. 

It  is  better  to  have  the  room  lighted  in  the  regular  way  while  making 
the  flash.  Arrange  the  persons  composing  the  group  so  that  no  one's 
face  will  be  shadowed  by  another's  body  or  head.  This  can  be  done 
readily  by  looking  at  the  group  from  where  the  flash  is  to  be  fired. 

Have  the  flash-light  high  enough  so  that  the  shadows  of  heads 
against  the  background  will  not  be  thrown  up  higher  than  the  heads. 
Tak'  e  ^n  Baking  large  groups  it  is  necessary  to  have  the 

I  *rai>  camera   a  considerable   distance   away.       In   such  a 

G       os  case-'   to   Iight   the   group   sufficiently  with   the  flash 

behind  the  camera,  a  strong  flash  would  be  necessary. 

This  pay  be  obviated  in  cases  where  the  camera  can  be  placed 
in  an  adjoining  room,  where  there  are  double  parlors,  for  instance. 
Then  set  off  the  flash  in  the  room  where  the  group  is,  it  being  shielded 
from  the  lens  by  the  projecting  partition.  This  gets  the  light  close 
to  the  subject.  In  this  way  a  much  weaker  flash  would  suffice. 

In  making  single  portraits  or  groups,  care  should  be 
Back-  taken  to  have  a  suitable  background  against  which  the 

grounds  figures  will  show,  in  relief.  A  light  background  is 

better  than  a  dark  one,  and  often  a  single  figure  or 
two  will  show  up  well  against  a  lace  curtain.  For  larger  groups  a 
medium  light  wall  will  be  suitable. 

The  finder  of  the  camera  will  help  the  photographer  to  compose  the 
group  so  as  to  get  the  best  effect.  In  order  to  make  the  image  visible 
in  the  finder,  the  room  must  be  well  lighted  with  artificial  light  which 
may  be  left  on  while  the  picture  is  being  made,  provided  none  of  the 
lights  are  so  placed  that  they  show  in  the  finder. 

In  portrait  work  it  is  always  best  to  have  the  room 
In  General  well  lighted  when  making  the  flash,  if  it  can  be  done 

in  such  a  way  that  none  of  the  lights  come  within  range 
of  the  lens.  If  the  room  is  darkened  the  sudden  flash  of  light  so  strains 
the  eyes  of  the  sitters  that  it  almost  invariably  gives  them  a  staring 
look,  but  if  the  room  is  already  well  illuminated  by  gas  or  electricity, 
the  strain  is  not  great  and  the  eyes  will  have  a  natural  expression. 
Of  course,  when  the  room  is  brightly  lighted,  the  shutter  should  not 
be  opened  until  the  instant  before  the  flash  is  made,  and  should  be 
closed  quickly  after  the  flash  is  over. 

In  making  portraits  by  flash-light,  the  camera  should  not  be  held 
in  the  hand,  but  should  be  supported  as  described  on  page  79.  Before 
setting  off  the  flash  see  that  no  articles  of  furniture  in  range  of  the 


88  INTERIORS  BY  FLASH-LIGHT 

lens  are  closer  to  the  camera  than  the  persons  to  be  photographed. 
The  nearer  an  object  is  to  the  lens,  of  course,  the  larger  the  picture. 
A  chair  placed  too  near  the  camera  might  appear  in  the  picture  bigger 
than  anything  else  visible. 

Flash-light  work  is  usually  regarded  as  of  minor  importance 
compared  with  daytime  photography,  which  may  be  explained  by 
the  fact  that  most  people  have  not  made  themselves  familiar  with 
it.  As  a  matter  of  fact  it  well  repays  considerable  time  and  study, 
in  view  of  the  results  that  are  possible.  Some  professional  photog- 
raphers now  are  using  the  flash-light  extensively  in  their  regular  portrait 
work. 

When  more  than  one  flash-light  picture  is  to  be  taken,  the  windows 
should  be  opened  and  time  allowed  between  each  flash  to  free  the 
room  thoroughly  from  smoke,  otherwise  all  the  pictures  after  the 
first  one  are  liable  to  have  a  "foggy"  effect.  The  Eastman  Flash 
Sheets  give  a  minimum  of  smoke,  but  the  lens  is  even  keener  than  the 
eye,  and  what  will  seem  to  be  but  little  smoke  in  a  room,  will  often 
have  a  decided  effect  upon  the  picture. 


Fig.  l 

When,  for  any  reason,  it  is  necessary  that  the  shutter  remain  closed 
until  the  instant  the  flash  is  discharged  and  be  closed  again  instantly 
afterward,  it  is  well  to  have  the  flash  sheet  hanging  near  so  that  the 
shutter  can  be  operated  with  one  hand  and  the  flash  with  the  other 
and  their  action  thus  made  simultaneous. 

In  using  the  flash  sheets  it  should  be  borne  in  mind  that  they  are 
not  instantaneous,  and  in  portrait  work  the  subject  should,  therefore, 
be  warned  to  keep  still  as  if  for  a  time  exposure. 


INTERIORS  BY  FLASH-LIGHT  89 

The  flash  sheets  do  not  produce  a  sudden  flash  when  they  are  lighted, 
and  a  second  or  so  is  consumed  in  burning  a  single  sheet.  As  compared 
with  the  ordinary  flash  powder  they  give  a  much  broader  source  of 
light,  which  means  that  they  do  away  with  the  harsh  shadows  that 
are  so  objectionable  in  most  flash-light  work.  The  flash  from  the 
sheets  is  far  less  blinding  than  that  from  the  ordinary  powder,  a  decided 
advantage  in  giving  pictures  without  the  staring  effect  to  the  eyes  so 
often  seen. 

In  the  various  articles  on  Portraiture  the  use  of  the 
The  reflector  is  explained.  In  practice  it  is  often  in- 

Reflector  convenient  or  undesirable  to  secure  an  assistant  for 

the  purpose  of  holding  the  cloth  to  be  used  as  a  reflector. 
Fig.  1  shows  a  reflector  which  may  be  easily  constructed  and  which 
will  be  found  very  convenient  to  use.  Provide  two  pieces  of  wood 
about  one  inch  wide  by  half  an  inch  thick,  one  piece  being  about  two 
feet  and  the  other  two  feet  six  inches  long.  In  one  end  of  the  longer 
piece  insert  a  screw  eye  with  a  head  about  half  an  inch  in  diameter 
Cut  an  opening  in  the  center  of  the  second  strip  so  that  the  head  of 
the  screw  eye  will  fit  it  snugly.  A  small  flat  hook  fastened  to  the  strip 
completes  the  joint.  Procure  a  piece  of  white  cotton  cloth  about  two 
feet  square  and  fasten  it  to  the  edge  of  the  short  strip  with  small  tacks. 
A  larger  rubber  band  completes  the  outfit. 

For  use  fasten  the  two  strips  together  by  the  joint  and  fasten  the 
screen  by  the  aid  of  the  rubber  band  to  the  back  of  an  ordinary  chair. 
The  cloth  will  then  hang  straight  down  and  by  moving  the  chair  about 
and  changing  the  height  of  the  screen  by  sliding  the  upright  piece  up 
or  down,  the  reflector  may  readily  be  placed  in  any  desired  position. 


Development 


THE  amateur  has  the  choice  of  two  methods  of  development: 
Tank  development  or  dark-room  development. 
The  user  of  a  roll  film  camera  is  particularly  fortunate  in  that  he 
may  make  use  of  the  Kodak  Film  Tank,  and  thus  perform  the  entire 
operation  of  development  in  full  daylight. 

The  Kodak  Developing  Box  for  Kodak  Cut  Film,  the  Eastman 
Plate  Tank  for  plates  and  the  Film  Pack  Tank  for  film  pack  films, 
require  the  use  of  the  dark-room  for  placing  the  films  or  plates  in  the 
developer,  after  which  development  can  be  carried  on  in  full  daylight, 
except  in  the  case  of  the  Kodak  Developing  Box  which  has  no  light- 
tight  cover. 

The  time-temperature  method  of  development — developing  for 
a  definite  time,  with  a  given  strength  of  developer,  and  at  a  given 
temperature — the  foundation  of  the  tank  system  of  development, 
has  long  passed  the  experimental  stage.  Tank  development  is  no 
longer  a  theory — it  is  a  success. 

There  is  every  reason  for  the  adoption  of  this  simple  method  for 
the  development  of  film  or  plates.  First  and  foremost,  it  gives  better 
results  than  the  old  tentative  dark-room  method,  even  in  the  hands 
of  the  expert. 

The  tank  prevents  accidents,  such  as  light  fog  and  scratches;  it 
protects  the  novice  from  his  own  inexperience — the  experience  is  in 
the  tank. 

Tank  development  takes  care  of  all  differences  of  exposure  within 
reasonable  limits.  Indeed,  it  has  now  been  fully  demonstrated  that 
normal  development,  such  as  the  tank  gives,  produces  better  printing 
negatives  than  does  the  old  method  of  endeavoring  to  force  under- 
exposures and  restrain  over-exposures.  Snapshots  and  time  exposures 
go  into  the  tank  at  the  same  time  and  come  out  together,  developed  to 
their  full  value.  No  individual  treatment  is  necessary. 

Tank  development  offers  greater  convenience  and  comfort.  With 
cartridge  film  it  is  daylight  all  the  way,  and  with  plates  and  Kodak 
Film  Pack  the  dark-room  is  necessary  only  while  loading  the  tank, 
and  for  washing  before  fixing — operations  requiring  but  a  few  moments. 

Tank  development  is  the  most  economical  method  of  development 
— time  saving,  as  you  may  develop  a  dozen  plates,  or  cut  films  or  a  full 
roll  of  film,  at  one  time;  film  and  plate  saving,  as  it  insures  the  high- 
est percentage  of  good  printing  negatives;  space  saving,  as  any  one 
of  the  tanks  for  either  film  or  plates  will  occupy  but  a  corner  of  an 
ordinary  suit  case. 

The  fact  that  many  of  the  most  noted  professional  photographers 
in  the  country  have  adopted  the  Eastman  Plate  Tank  for  their  devel- 
oping, is  one  of  the  best  evidences  of  the  superiority  of  the  tank  system. 
To  these  men  the  convenience  of  tank  development  is  a  secondary 
consideration.  What  their  business  depends  upon  is  results,  and 
they  find  by  actual  experience  that  tank  development  produces  a  better 
quality  of  negatives  than  does  the  old  method. 


DEVELOPMENT 


91 


The  dark-room  method  of  film  development  is  simple,  but  the 
amateur  has  naturally  to  depend  upon  his  own  judgment  of  the  proper 
density  and  must  take  precautions  as  to  a  safe  light  to  work  by.  As 
improvements  calling  for  slight  changes  in  the  methods  of  manipulation 
are  frequently  made  in  Kodak  apparatus,  the  operator  of  a  Kodak 
Film  Tank  should  read  carefully  the  manual  accompanying  the  par- 
ticular tank  he  purchases. 

The  preparation  of  an  Autographic  Film  Cartridge  for  development 
and  the  method  of  developing  it  in  the  Kodak  Film  Tank  is  precisely 
the  same  as  for  the  regular  Kodak  film  cartridge. 

The  Autographic  Film  Cartridge  is  made  with  a  thin  red  instead 
of  the  familiar  thick  red  and  black  (duplex)  paper.  The  thin  red 
paper  is  not  light-proof  in  itself.  Between  it  and  the  film  is  inserted 
a  strip  of  tissue.  The  tissue  serves  two  purposes:  To  supplement 
the  red  paper  in  light-proofing  the  cartridge,  and  to  permit  the  recording 
by  light,  of  the  writing  upon  "the  film.  Where  "duplex"  paper  is 
mentioned  in  the  following  instructions,  the  thin  red  paper  is  meant, 
if  developing  an  Autographic  Film  Cartridge. 


WITH  THE  KODAK  FILM  TANK 


The  Kodak  Film 
Tank  consists  of  a 
wooden  box,  a  light- 
proof  apron,  a  transferring 
reel,  a  metal  solution 
cup,  in  which  the 
film  is  developed,  a  hollow 
spindle,  two  axles,  and  a 
hooked  rod  for  lifting  the 
transferring  reel  to  expel 
air  bubbles.  There  is  also 
a  dummy  film  cartridge 
which  should  be  experi- 
mented with  before  using 
an  exposed  cartridge.  The 
various  parts  of  the  outfit  come  packed  in  the  box  itself,  with  the 
exception  of  the  "2J^-inch."  The  solution  cup  in  this  case  is  too 
large  in  diameter  to  fit  into  the  box. 

1.  Take  everything  out  of  the  box.     Take  the  apron 
and  transferring  reel  out  of  the  solution  cup. 


Fig.  l 


Setting 
Up  the 
Film  Tank 


2.  The  axles  marked  C  and  D  in  the  cut  are  to  be  inserted 
in  the  holes  in  the  front  of  the  box.     The  front  will 
be  toward  you  when  the  spool  carrier  in  end  of  box  is 
at  your  right.    These  axles  are  interchangeable.    The  axle  "C"  must 


92  DEVELOPMENT 

be  pushed  through  the  hollow  spindle  which  will  be  found  loose  in  the 
box.  This  spindle  has  a  lug  at  each  end  to  which  the  hooks  of  the 
apron  are  to  be  attached. 

3.  The  axle  "D"  must 
be    pushed    through    the 
hollow  rod  of  the  transfer- 
ring reel  to  hold  reel   in 
position    as    indicated    in 
the  illustration.    The 
flanges  at  each  end  of  the 
transferring  reel  are  mark- 
ed "Y"  in  the  illustration. 
Both  axles  "C"  and  "D" 
must    be  pushed   clear 
through  into  the  holes  on 
the  opposite  side    of  the 
box. 

4.  Attach  one  end   of 
Fis-  2                                           the  apron  to  the  spindle, 

through   which  axle  "C" 

passes,  by  means  of  the  metal  hooks  which  are  to  be  engaged  with 
the  lugs  on  the  spindle.  (Fig.  2.)  The  corrugated  side  of  the  rubber 
bands  is  to  be  beneath  the  apron  when  it  is  attached.  Turn  to  the 
left  on  axle  "C"  and  wind  the  entire  apron  on  to  the  axle,  maintain- 
ing a  slight  tension  on  the  apron,  in  so  doing,  by  resting  one 
hand  on  it. 

When  developing  Vest  Pocket  Ko- 
dak Film,  insert  spool  bearings  (exten- 
sions at  end  of  spool)  in  openings  in 
spool  carrier — see  Fig.  1,  and  proceed 
in  the  usual  manner. 

Due  to  the  small  size  of  the 
flanges  at  the  ends  of  spool  carrier  in 
the  "Brownie"  Kodak  Film  Tank, 
they  are  not  perforated,  and  therefore 
the  Vest  Pocket  Cartridges  cannot  be 
developed  in  this  Tank  unless  a  spool 
adapter  for  Vest  Pocket  and  No.  0 
Brownie  Film  is  used. 

5.  Insert  the  film  cartridge  in  spool 
carrier  (Fig.  3)  and  close  up  the 
movable  arm  against  the  end  of  the 
spool.  Have  the  duplex  paper  ("B"  Fig.  3 

in  Fig.  1)  lead  from  the  top. 

The  method  of  threading  the  film  and  apron  in  the  Vest 
Pocket  and  Brownie  Kodak  Film  Tank  differs  slightly  from  the  larger 
size  tanks,  so  it  will  be  necessary  to  follow  closely  the  instructions  that 
are  included  with  each  tank. 


DEVELOPMENT 


Film  to  be  used  in  the  Kodak  Film  Tank  must  be  fastened 
Important     to  the  duplex  paper  at  both  ends.    All  Kodak  films  are 
fastened  at  one  end  in  the  factory. 

The  operation  of  fastening  the  other  end  can  be  accomplished  in 
the  following  manner. 

Just  before  you  are  ready  to 
develop  (holding  spool  with  the 
unprinted  side  of  the  duplex  paper 
up)  unroll  the  duplex  paper  care- 
fully until  you  uncover  the 
piece  of  gummed  paper  which 
is  fastened  to  end  of  film  and 
is  to  be  used  as  a  means  of 
fastening  film  to  duplex  paper. 
Moisten  the  gummed  side  of 
sticker  evenly  across  the  end, 
and  stick  it  down  to  duplex 
paper,  rubbing  thoroughly  to 
secure  perfect  adhesion.  Wind 
the  end  of  the  duplex  paper 
on  the  spool  again  and  the 
cartridge  is  ready  to  insert  in 
the  spool  carrier. 

6.  Thread  the  paper  un- 
derneath   wire  guard   on 
transferring  reel  through 
which    axle    "D"    passes 
(Fig.    4)    and    turn    axle 
slowly  to  right  until  the 
word    "stop"  appears  on 
duplex  paper. 

7.  Now  hook  apron  to 
lugs  on  transferring   reel 
(Fig.  5)  in  precisely  the 
same    manner    that    you 
hooked  the  opposite  end 
to   lugs    on    the  spindle, 
except  that  axle  "D"  turns 
to  the  right. 

8.  Turn  the  handle  half 
a  revolution  so  that  the 

apron  becomes  firmly  attached  and  put  the  cover  on  the  box.  Turn 
axle  "D"  slowly  and  steadily  until  duplex  paper,  film  and  apron  are 
rolled  up  together  on  reel.  As  soon  as  this  is  completed  the  handle 
will  turn  very  freely. 

While  turning  axle  "D"  to  the  right,  keep  pressure  on  axle  "C" 
in  the  opposite  direction.  This  will  act  as  a  brake  and  will  keep  the 
apron,  film  and  duplex  paper  taut  and  in  the  correct  position. 


Fig.  3. 


94  DEVELOPMENT 

9.  Prepare  developer  as  described  on  page  96. 

10.  Remove  the  cover  from  the  box  and  take  hold  of  the  duplex 
paper  where  it  projects  beyond  the  end  of  the  apron.    Then  wind  axle 
"D"  until  the  duplex  paper  becomes  taut.    Unless  this  is  done  there  is  a 
chance  of  the  film  touching  portions  of  the  apron  and  causing  non- 
development  of  that  part  of  the  film. 

Note — Where  the  film  is  so  short  that  the  duplex  paper  does  not  extend  beyond 
the  end  of  the  apron,  the  instructions  in  paragraph  10  are  unnecessary. 

11.  Draw  out  axle  "D" 
(Fig .  6},  holding  apron  and  duplex 
paper  with  the  other  hand  to 
keep  end  of  apron  and  paper 
from  loosening.  Remove  en- 
tire transferring  reel,  con- 
taining apron,  duplex  paper 
and  film  (which  is  freed  by 
pulling  out  axle  "D")  and  slip 
a  small  rubber  band  around  the 
apron  tightly  so  that  there  mil 
be  no  possibility  of  its  unwinding. 
In  removing  reel  do  not  squeeze 
the  apron,  as  by  doing  so  there 
will  be  a  tendency  for  it  to  buckle. 

12.  Insert  the  transferring  reel   (containing  apron,  duplex  paper 
and  film)  in  the  previously  prepared  developer  immediately. 

13.  Having   filled    solution    cup    as    di- 
rected    on     page     96,     lower     transferring 
reel    into    cup,    with    the    end    containing 

cross-bar  up.  (Fig.  7.)  Let 
Using  the  reel  slide  down  slowly.*  The 
Solution  operation  of  removing  reel 

from  box  can  be  done  in  the 
light  of  an  ordinary  room,  but  for  safety  it  is 
well  that  the  light  should  not  be  too  bright. 
The  total  length  of  time  for  development  is 
20  minutes  at  a  temperature  of  65  degrees 
Fahr. 

Then  place  the  cover  on  the  cup  (Fig.  9),  putting 
lugs  on  cover  into  the  grooves  and  tighten  cover  down 
by  turning  to  right. 

Now  turn  the  entire  cup  end  for  end  and  place  Fig.  7 

in  a  tray  or  saucer  to  catch  any  slight  leakage. 


•"•Immediately  after  lowering  reel  into  solution  cup,  catch  it  with  wire  hook 
and  move  slowly  up  and  down  two  or  three  times,  taking  care,  however,  not  to  raise 
any  part  of  reel  above  the  surface  of  solution  (Fig.  8).  This  is  to  expel  air  bubbles. 


DEVELOPMENT 


95 


At  the  end  of  three  minutes  again  re- 
verse the  cup,  and,  thereafter,  reverse 
every  three  minutes  until  the  time  of 
development  (20  minutes  at  65  degrees 
Fahr.)  has  elapsed. 

Turning  the  solution  cup  in  this  manner  allows 
the  developer  to  act  evenly  and  adds  brilliancy  and 
snap  to  the  negatives. 


Fig.  8 


14.  When  development  is  completed  pour  out 
developer  and  fill  cup  with  clear,  cold  water  and 
pour  off,  repeating  this  operation  three  times  to 
wash  the  film. 

When  removing  cover  of  solution  cup,  place 
cup  in 'palm  of  hand  so  as  to  obtain  a  firm  grip 
on  bottom  of  cup.  Then  grip  cover  with  other 
hand  and  turn  slowly  to  left  when  cover  will 
loosen  readily.  After  rinsing  the  film  remove 
transferring  reel;  separate  film  from  apron  and 
duplex  paper  and  place  immediately  in  the  fixing 
bath,  which  should  be  in  readiness,  prepared  in  accordance  with 
directions  on  page  98. 

The  film  may  be  separated  from  duplex  paper  in  the  subdued  light 
of  an  ordinary  room  if  the  developer  is  thoroughly  washed  out.  The 
operation  of  separating  film  and  duplex  paper  should  be  done  over  a 
bowl,  bathtub,  or  sink. 

When  the  duplex  paper  does  not  free  itself  readily  from  back  of 
film,  split  the  paper  where  possible;  this  will  remove  the  hard  outer 
surface  of  the*'paper,  the  remaining  portion 
will  soon  become  soaked  and  can  then  be 
removed  easily  by  rubbing  gently,  while 
immersed,  with  the  ball  of  the  finger. 

This  sticking  of  the  duplex  paper  to  the  film 
is  invariably  caused  by  the  use  of  too  warm 
a  developer. 

If  on  developing  an  Autographic  Film  Cartridge 
any  pieces  of  the  tissue  or  paper  stick  to  the  film 
when  it  goes  into  the  fixing  bath,  they  must  be  re- 
moved by  gently  rubbing  with  the  wet  finger  before 
the  film  is  washed  and  dried. 

After  developing  a  roll  of  film  the  apron  must 
be  wiped  dry  before  developing  another  roll.  The 
apron  will  dry  almost  instantly  if  immersed  for  a  moment  in  hot 
water.  Be  careful,  however,  not  to  use  extremely  hot  water  or  the 
apron  will  be  liable  to  crack.  Keep  apron  wound  on  axle  "D"  when 
not  in  use.  Never  leave  apron  soaking  in  water. 


96  DEVELOPMENT 

Several  rolls  of  film  may  be  developed  at  the  same 
n  ,  .  .  time  if  the  operator  wishes.  To  do  this  it  is  necessary 
Developing  to  kave  a  «Duplicating  Outfit"  consisting  of  a 
R  ,1 ,  solution  cup  and  cover,  a  transferring  reel  and  an  apron 

ofFilm  for  each  additional  ro11  of  film  to  be  developed.     The 

at  Once  e*tra  ro^s  of  ^lm  mav  t^ien  ^e.  wound  on  to  the  transfer- 

ring reels  as  previously  described  and  immersed  in  the 
solution  cups. 

PI-  >ivi  -in  *       We   recommend   the   use   of   a   Pyro   developer.      The 
the  Kodak   Tank   Developer  Powders,   put  up  by  us  are 

n  !    .1   ~  Pyro  developer  powders  which  are  prepared  especially 

Developer       for  uge  with  oup  fflm  &nd  th(j  Rodak  Film  Tank  They 

are  made  from  Eastman  Tested  Chemicals. 

Fill  the  solution  cup  with  water  (not  exceeding  70  degrees  Fahr.) 
to  the  embossed  ring — not  to  the  top.  Test  the  temperature  of  the 
water  with  a  thermometer.  Pour  out  from  four  to  eight  ounces  of  the 
water  that  is  in  the  solution  cup  into  a  graduate  or  glass  and  dissolve 
in  it  the  contents  of  the  red  package,  containing  Sodium  Sulphite  and 
Sodium  Carbonate.  When  this  powder  is  dissolved,  then  add  the 
contents  of  the  blue  package,  containing  Pyro.  After  this  is  dissolved 
pour  it  back  into  the  solution  cup  and  stir  the  solution  thoroughly. 
The  developer  is  now  ready  for  use. 

The  film  should  be  developed  for  the  length  of  time  the  table  recom- 
mends for  the  temperature  of  the  developer.  (See  table  on  page  97.) 

If  some  of  the  Pyro  which  is  in  the  blue  package  sticks  to  the  paper, 
dip  the  paper  into  the  solution  so  that  all  the  Pyro  will  be  added  to 
the  developer.  The  developer  must  always  be  mixed  fresh  and  used 
for  only  one  roll  of  film. 

Temperature  of  the  developer  must  not  exceed  70  degrees  Fahr. 
as  above  that  point  there  is  danger  of  the  emulsion  loosening  from  its 
support. 

It  is  not  advisable  to  use  water  that  is  colder  than  50  degrees  Fahr., 
as  below  this  temperature  the  chemicals  will  dissolve  too  slowly  and 
the  time  of  development  is  too  long  for  practical  work,  and  even  at  this 
temperature  the  powder  must  be  finely  crushed  and  added  slowly 
to  the  water. 

TIME  AND  TEMPERATURE  FOR  TANK 
DEVELOPMENT 

After  the  developer  has  been  properly  prepared,  as  described 
above,  test  the  temperature  with  a  thermometer.  Best  results  are  obtained 
when  the  temperature  of  the  developer  is  between  60  and  70  degrees  F. 

When  the  temperature  of  the  developer  is'exactly  70  degrees  Fahr., 
develop  the  film  fifteen  minutes,  then  for  every  degree  colder  than  70 
degrees,  add  one  minute  to  the  time  for  development.  For  example: 
if  the  developer  is  65  degrees,  develop  the  film  20  minutes;  if  62  degrees, 
develop  23  minutes,  etc. 


DEVELOPMENT 


97 


Table  of  Time  and  Temperature  for  Tank  Development. 


Temperature 

70  Degrees  . 

69  «  . 

68  "  . 

67  "  . 

66  "  . 

65  "  . 

64  "  . 

63  "  . 

62  "  . 

61  "  . 

60  "  . 

59  "  . 

58  "  . 

57  "  . 

56  "  .  - 

55  «  . 

54  "  . 

53  "  . 

52  "  . 

51  "  . 
50 


Time  (One  Powder) 
15  Minutes 
16 
17 
18 
19 
20 
21 
22 
23 
24 
25 
26 
27 
28 
29 
30 
31 
32 
33 
34 
35 


FORMULAE 

Those  who  prefer  to  mix  their  own  developer  may  do  so,  but  care 
must  be  exercised  in  securing  absolutely  pure  chemicals  and  correct 
weights. 

DEVELOPER  FORMULAE 


BROWNIE"  TANK 


Sodium  Sulphite  (E.  K.  Co.) 
Sodium  Carbonate  (E.  K.  Co.) 
Pyro 


AND  3H-INCH  TANKS 


Sodium  Sulphite  (E.  K.  Co.) 
Sodium  Carbonate  (E.  K.  Co.) 


Pyro... 

5  AND  7-INCH  TANKS 

Sodium  Sulphite  (E.  K  Co.) 

Sodium  Carbonate  (E.  K.  Co.) 

Pyro 

Dissolve  the  chemicals  in  the  order  as  given  above,  i 
on  opposite  page. 


20  grains 
25       « 
10       " 


44  grains 
55     " 
22     " 


64  grains 
80       " 

32       " 


Temperature 
results. 


nd  in  the  manner  as  described 
of  Developer  should  be  between  60  and  70  degrees  Fahr.,  for  the  best 


If  other  brands  of  desiccated  Sodium  Carbonate  are  used  a  greater  quantity  will 
be  required.  If  crystals  are  used,  take  about  three  times  the  quantity  of  Carbonate 
and  double  the  quantity  of  Sulphite. 

If  it  is  desired  to  shorten  the  time  of  development  good 
Short  De-  results  may  be  obtained  by  using  two  pairs  of  powders 
velopment  or  doubling  all  the  quantities  in  the  above  formulae 
and  developing  for  half  the  time  given  in  the  table  above. 


98  DEVELOPMENT 

Provide  a  box  of  Kodak 
The  Fixing  Acid  Fixing  Powders  for 
Bath  the  fixing  bath,  which 

should  be  prepared  as 
per  instructions  on  the  package.  Put 
the  powder  in  the  large  box  into  a  tray 
or  washbowl  and  when  it  is  thorough- 
ly dissolved  add  to  the  solution  as 
much  of  the  Acidifier,  which  you  will 
find  in  a  small  box  inside  the  large  one, 
as  directions  call  for.  As  soon  as  this 
has  dissolved  the  Fixing  Bath  is  ready 
for  use. 

Pass  the  film  face  down  (the  face 
after  development,  is  the  side  on  which 
the  image  appears  clearly)  through  the 

fixing  solution  as  shown  in  the  illustration,  holding  one  end  in  each  hand. 
Do  this  three  or  four  times  and  then  place  one  end  of  the  film  in  the 
tray  (8  x  10  inches  is  a  good  size),  still  face  down,  and  lower  the  strip 
into  the  solution  in  folds.  Gently  press  the  film  where  the  fold  occurs, 
not  tightly  enough  to  crease  it,  down  into  the  solution  a  few  times  during 
the  course  of  fixing.  This  insures  the  fixing  solution  reaching  every 
part  of  the  film.  Allow  the  film  to  remain  in  the  solution  two  or  three 
minutes,  after  it  has  cleared  or  the  milky  appearance  has  disappeared. 
Then  remove  for  washing. 

If  preferred,  negatives  may  be  cut  apart  and  fixed  separately. 

IMPORTANT — When  cutting  apart  exposures  made  on  Autographic 
Film  after  development,  always  leave  the  writing  next  to  the  fore- 
ground of  the  adjoining  negative  in  the  case  of  vertical  pictures,  or 
at  the  left  hand  of  the  negative  when  looked  at  from  the  reverse  side, 
right  side  up,  in  the  case  of  horizontal  pictures. 

Kodak  Film  must  always  be  fixed  in  an  acid  bath.  The  Kodak 
Acid  Fixing  Powders  are  recommended  or  the  following  formula  may 
be  used  if  desired: 

ACID  HYPO  FIXING  BATH 

Water 64  ozs. 

Hypo 16  ozs. 

When  thoroughly  dissolved,  add  4  ozs.  Velox  Liquid  Hardener, 
or  the  following  hardening  solution,  dissolving  the  chemicals  separately, 
and  in  the  order  named: 

Water 5  ozs. 

Sodium  Sulphite  (E.  K.  Co.)      .      .      .      .    1  oz. 

Acetic  Acid  (28%)     .      .      .      .      .      .      .3  ozs. 

Powdered  Alum    ....'.  .      .    1  oz. 

This  bath  may  be  made  up  at  any  time  in  advance  and  be  used 
so  long  as  it  will  fix  films  in  20  minutes  and  is  not  sufficiently  discolored 
by  developer  carried  into  it  to  stain  the  negatives. 


DEVELOPMENT 


99 


All  negatives  must  be  thoroughly  washed  so  as  to 
Washing  remove  every  trace  of  hypo  and  other  foreign  substance. 

Where  running  water  is  accessible  the  films  may  be 
placed  in  a  tray  or  washing  box  and  left  under  a  faucet  from  which 
runs  a  gentle  stream,  for  about  an  hour.  Films  should  be  moved 
from  time  to  time,  so  that  the  washing  may  be  thorough  and  complete. 
Do  not  crowd  too  many  films  in  too  small  a  tray  during  the  process. 
Where  running  water  is  not  accessible  the  negatives  may  be  placed 
in  a  tray  or  bowl  of  cold  water,  and  left  to  soak  for  five  minutes,  when 
the  water  should  be  changed  and  the  process  repeated  five  or  six  times. 

When  thoroughly  washed,  snap  an  Eastman  Film 
Drying  Film  Developing  Clip  or  Kodak  Junior  Film  Clip  on  each 
Negatives  end  of  the  strip  and  hang  it  up  to  dry  or  pin  it  out.  Be 

sure,  however,  that  it  swings  clear  of  the  wall  so  that 
there  will  be  no  possibility  of  either  side  of  the  film  coming  in  contact 
with  the  wall  or  any  other  object. 

If  the  film  has  been  cut  up,  pin  by  one  corner  to  the 
edge  of  a  shelf  or  hang  the  negatives  on  a  stretched  string 
by  means  of  a  bent  pin,  running  the  pin  through 
the  corner  of  the  film  to  the  head,  then  hooking  it  over 
the  string. 

Instructions  for  cutting  apart  Autographic  Film  ex- 
posures are  given  on  page  98. 

Over-development  may  be  caused  by  a 
Over-de-  mistake  in  leaving  film  in  the  developer  too 

velopment  long,  by  using  the  solution  too  warm,  or 

by  those  who  mix  their  own  chemicals,  in 
getting  the  developing  agent  too  strong. 

In  such  cases  negatives  are  very  strong  and  intense  by 
transmitted  light,  and  require  a  long  time  to  print. 

The  remedy  .  is  to  reduce  by  using  Eastman  Reducer, 
or  by  the  following  method: 

REDUCER 

First  soak   the  negative  in  water  for  20  minutes,  then   immerse 


in: 


Water 
Hypo 

Potassium  Ferricyanide 
tion)  poison 


solu- 


± oz. 
1  dram 


Rock  the  tray  gently  back  and  forth  until  the  negative  has  been 
reduced  to  the  desired  density,  then  wash  it  for  10  minutes  in  running 
water  or  in  four  changes  of  water. 

Negatives  may  be  reduced  locally  by  applying  the  above  solution 
to  the  dense  parts  with  a  camel's  hair  brush,  rinsing  off  the  reducer 
with  clear  water  frequently  to  prevent  it  from  running  onto  the  parts 
of  the  negative  that  do  not  require  reducing. 


100  DEVELOPMENT 

Should  the  reduced  negative  show  any  yellowness  or  stain  it  may 
be  removed  by  bathing  in  the  Acid  Fixing  Bath  for  a  few  minutes. 

Under-  This   defect  is   caused   by   removing  films   from   the 

development    developer  too  soon,  by  using  solutions  too  cold,  or  by 

an  error  in  compounding  the  chemicals. 

It  is  obvious  that  none  of  these  defects  will  occur  if  instructions  for 
tank  development  are  properly  followed. 

The  remedy  for  under-development  is  to  intensify  by  re-develop- 
ment, or  by  the  following  method: 

Intensification — After  fixing  and  thorough  washing,  lay  the  film 
while  wet,  face  up  in  an  empty  tray  and  pour  over  it  sufficient  intensifier 
to  fully  cover  it;  allow  it  to  act  until  the  film  is  all  one  even  color 
and  then  pour  the  intensifier  back  into  the  bottle  and  wash  the  film 
in  four  or  five  changes  of  water  for  fifteen  minutes. 

Use  Eastman  Intensifier  prepared  according  to  instructions  on  the 
tube,  or  if  desired  the  amateur  may  make  an  intensifier,  using  the  fol- 
lowing formula : 

INTENSIFIER 

1.  Dissolve  60  grains  Bichloride  of  Mercury   (cor- 

rosive sublimate)  poison,  in  4  ozs.  water 

2.  Dissolve  90  grains  Potassium  Iodide,  in 2  ozs.  water 

3.  Dissolve  120  grains  Hypo,  in 2  ozs.  water 

Each  solution  must  be  dissolved  separately,  then  pour  solution  No.  1 

into  No.  2,  and  the  resulting  mixture  into  No.  3. 

CAUTION:  Do  not  pour  solution  No.  2  into  No.  1,  as  if  this  should  be 
done  a  red  precipitate  will  form,  which  is  practically  impossible  to  re- 
move from  the  film. 

While  the  method  of  intensification  by  re-development 
Intensification  is  comparatively  new,  Velox  and  Royal  Re-developer 
by  Re-  for  Sepia  tones  on  Velox  and  Bromide  prints  is  the 

development  most  effective  and  simple  means  of  intensifying  film 

negatives. 

Velox  or  Royal  Re-developer  may  be  used  in  exactly  the  same 
manner  as  for  producing  Sepia  tones  on  developing  papers. 

Negatives  intensified  by  re-development  are  built  up  evenly,  without 
undue  contrast  and  without  the  chance  of  staining. 

The  advantage  of  being  able  to  use  the  chemicals  for  two  different 
purposes  (Sepia  toning  prints  or  intensifying  negatives)  is  obvious, 
the  results  in  either  case  being  all  that  could  be  desired. 

In  re-developing  negatives  be  sure  that  they  have  been  thoroughly 
fixed  and  washed  before  re-developing. 

When  traveling,  a  glass  graduate  for  measuring  developer 
A  Short  is  more  or  less  of  a  nuisance  on  account  of  its  bulk 
Cut  and  the  liability  of  breakage.  This  can  be  dispensed 

with  by  half  filling  an  ordinary  tumbler  with  water 
(not  over  70  degrees  Fahr.)  and  dissolving  the  developer  powders 


DEVELOPMENT  101 

in  it.  Pour  this  into  the  tank  and  add  cold  water  to  embossed  ring, 
By  previous  experiment  without  the  chemicals  you  can  find  out  what 
proportion  of  lukewarm  and  cold  water  to  use  to  get  the  proper 
temperature,  60  to  70  degrees. 

The  fixing  bath  may  also  be  prepared  without  a  graduate.  The 
average  tumbler  holds  approximately  eight  ounces;  you  can,  there- 
fore, get  your  fixing  bath  near  enough  to  the  right  strength  by  its 
use.  A  slight  variation  in  the  strength  of  the  solution  makes  no 
difference,  provided  only  that  you  fix  for  five  minutes  after  the  milky 
appearance  has  disappeared  from  the  back  of  negatives. 

Special  Graflex  and  Cartridge  Roll  Holder  Film  may  be  devel- 

Directions        oped   in   the   Kodak   Film   Tank   by   following  these 
directions : 

All  Graflex  and  Cartridge  Roll 
Holder  Films  have  a  piece  of  gummed 
manila  paper  on  the  loose  end  of  the 
film.  To  prepare  the  film  for  the  Kodak 
Film  Tank,  unroll  the  duplex  paper  until 
the  manila  paper  is  reached.  Moisten  the 
gummed  side  of  sticker  and  fasten  it  to 
the  back  side  of  the  duplex  paper  as  shown 
in  the  illustration.  Again  wind  paper  on 
spool.  The  cartridge  is  now  ready  for 
insertion  in  the  Kodak  Film  Tank  box. 

Place  the  film  cartridge  in  the  spool 
carrier  so  that  the  duplex  paper  will  draw 
from  the  bottom  instead  of  from  the  top. 
This  is  exactly  opposite  to  the  way  in  which 
a  Kodak  film  cartridge  is  inserted. 

With  the  Graflex  and  the  Roll-Holder  Cartridge  the  "Stop"  warning 
is  not  printed  on  the  duplex  paper,  but  instead,  when  about  one  inch 
of  manila  paper,  with  which  the  end  of  the  film  is  fastened  down,  ap- 
pears, stop  turning  the  handle  of  the  axle,  until  the  end  of  apron  is 
properly  hooked  in  position  and  the  cover  of  box  replaced.  Then  pro- 
ceed with  the  development  of  the  film  in  the  same  manner  as  with  a 
Kodak  film  cartridge. 

THE  DARK-ROOM  METHOD 

The  first  essential  is  the  dark-room.  By  a  dark-room  is  meant 
one  that  can  be  made  entirely  dark — not  a  ray  of  white  light  in  it. 
Such  a  room  can  easily  be  secured  at  night  almost  anywhere.  A 
comfortable  working  light  can  be  used  if  it  comes  from  a  ruby  fabric 
or  safelight  lamp.  The  reason  a  dark-room  is  required  is  that  the 
film  is  extremely  sensitive  to  white  light,  either  daylight  or  lamplight, 
and  would  be  spoiled  if  exposed  to  it  even  for  a  fraction  of  a  second. 

If  possible  have  running  water,  but  if  this  is  not  available  provide 
a  pitcher  of  cold  water  (ice  water  in  summer),  a  shelf  or  table  on  which 
to  work  and  a  pair  of  shears. 


102  DEVELOPMENT 


Also  provide  a  Developing  outfit  which  should  contain: 

1  Dark-room  Lamp,  Package  Developer  Powders, 

4  Developing  Trays,  1  Ib.  Kodak  Acid  Fixing  Powdc 

1  4-Ounce  Graduate  1  Stirring  Rod. 


Such  an  outfit  can  be  bought  for  a  small  sum  and  will  be  sufficiently 
elaborate  for  your  first  work. 

Having  provided  a  room  or  closet,  where,  when  the  door  is  closed, 
no  ray  of  white  light  can  be  seen,  set  upon  the  table  or  shelf  the  Dark- 
room Lamp.  The  Kodak  Candle  Lamp,  made  of  special,  tested  fabric, 
bound  in  metal  frames;  or,  if  electricity  is  available  the  Kodak  Safelight 
Lamp,  or  the  Brownie  Safelight  Lamp,  which  screws  into  an  electric-light 
socket,  offers  a  most  satisfactory  and  safe  illumination  for  the  dark- 
room, giving  a  subdued  red  light  which  will  not  injure  the  film  unless 
it  is  held  too  close  to  it.  Set  the  lamp  on  the  table  at  least  eighteen 
inches  from  the  developing  tray.  Never  use  a  yellow  light  with  Kodak 
Film  or  fog  will  be  the  result. 

1.  Fill  one  of  the  trays  nearly  full  of  water  (first  tray). 

2.  Open  one  of  the   developer  powders,   put  the  contents    (two 
chemicals)  into  the  graduate  and  fill  it  up  to  the  4-ounce  mark  with 
water.    Stir  until  dissolved  with  the  stirring  rod  and  pour  into  second 
tray. 

3.  To  develop,  unroll  the  film  and  detach  the  entire  strip  from  the 
duplex  or  tissue  and  red  paper. 

4.  Pass  the  film  face  down  (the  face  is  the  dull  side)  through  the 
tray  of  clean,  cold  water  (page  98),  holding  one  end  in  each  hand. 
Pass  through  the  water  several  times,  that  there  may  be  no  bubbles 
remaining  on  the  film.    When  it  is  thoroughly  wet,  with  no  air  bubbles, 
it  is  ready  for  development. 

5.  Now  pass  the  film  still  face  down  through  the  developer  in  the 
same  manner  as  described  for  wetting  it.       Keep  it  constantly  in 
motion,  and  in  about  one  minute  the  highlights  will  begin  to  darken  and 
you  will  readily  be  able  to  distinguish  the  unexposed  sections  between 
the  negatives,  and  in  about  two  minutes  will  be  able  to  distinguish 
objects  in  the  pictures.     Complete  development  in  the  strip,  giving 
sufficient  time  for  development  to  bring  out  what  detail  you  can  in  the 
thinnest  negatives.     There  is  no  harm  in  having  your  negatives  of 
different  densities.     This  can  be  taken  care  of  in  the  printing.     The 
difference  in  density  does  not  affect  the  difference  in  contrast. 

Keep  the  strip  which  is  being  developed  constantly  in  motion, 
allowing  the  developer  to  act  for  5  to  10  minutes.  The  progress  of 
development  may  be  watched  by  holding  the  negatives  up  to  the 
lamp  from  time  to  time. 


Note — Proper  temperature  is  important,  and  for  the  best  results  the  developer 
should  be  at  65  degrees  Fahr.,  and  the  fixing  bath  and  wash  water  should  not  exceed 
65  degrees  Fahr.  If  the  developer  is  too  warm,  the  negatives  are  very  liable  to  fog, 
and  in  many  cases  the  emulsion  will  be  softened  and  the  surface  will  be  very  much 
more  liable  to  injury  through  scratching.  If  the  developer  is  too  cold  the  chemical 
action  is  retarded,  resulting  in  flat,  weak  negatives. 


DEVELOPMENT  103 

When  developing  Kodak  Film,  use  a  red  lamp  or  a  Kodak  or  a  Brownie 
Safelight  Lamp,  taking  care  not  to  hold  the  film  close  to  the  lamp  for  more 
than  four  or  five  seconds  at  a  time.  This  film  is  very  rapid  and  is 
orthochromatic,  therefore  liable  to  fog  unless  handled  very  carefully. 

Fog  is  sometimes  caused  by  light  coming  in  contact  with  the  film 
other  than  that  which  comes  through  the  lens  during  the  proper  expo- 
sure. Frequently  it  is  caused  by  exposure  to  an  unsafe  light  during 
development;  also  by  light  entering  the  dark-room  through  the  key-hole 
or  a  crack  in  the  door.  Examine  your  dark-room  thoroughly  before 
developing  and  see  that  all  white  light  is  excluded.  Fog  is  also  often 
caused  by  the  negative  being  exposed  to  white  light  after  development, 
but  before  fixing,  and  if  the  negative  is  exposed  to  light  before  the 
developing  solution  has  been  washed  out,  a  reversal  of  the  image  will 
frequently  be  found. 

6.  After  completing  development,  transfer  to  the  third  tray  and 
rinse'  two  or  three  times  with  clean,  cold  water,  and  transfer  to  fixing 
bath.  (Page  98.) 

DEVELOPING  KODAK  FILM  PACKS  IN  THE 
FILM  PACK  TANK 

The  Film  Pack  Tank  consists  of  two  pieces — a  metal  receiver 
or  cage  for  the  films  and  a  tank  with  cover  for  the  developing  fluid. 
The  entire  outfit  is  self-contained  and  occupies  very  little  space. 

The  cage  of  the  smaller  tanks  is  divided  into  twelve  compartments, 
six  in  the  5  x  7  size,  each  accommodating  one  film. 

Developing  powders  that  have  been  especially  prepared 
Developer  for  use  in  these  tanks  are  put  up  in  packages  of  one-half 
Powders  dozen  pairs.  Each  pair  of  powders  is  wrapped  in  a 

single  package  with  instruction  label. 

Dissolve  a  pound  package  of  Kodak  Acid  Fixing 
To  Prepare  Powder  in  64  ounces  of  water.  (This  solution  may 
the  Fixing  be  bottled  and  used  repeatedly  until  it  loses  strength.) 

At  this  point  all  white  light  must  be  excluded  from 
the  dark-room.  If  no  dark-room  is  available,  this 
work  can  be  done  at  night  in  any  room  in  which  there  is  running  water, 
care  being  taken  that  there  is  no  white  light  in  the  room  during  the 
few  minutes  when  the  films  are  being  transferred  from  the  pack  to  the 
cage. 

When  all  exposures  in  the  film  pack  have  been  made 
To  Remove  it  is  light-tight,  and  may  be  taken  from  the  camera  in 
Films  from  daylight.  Provided  exposed  films  have  previously 
Pack  been  removed,  as  described  below,  the  Film  Pack  should 

be  resealed  immediately  after  removing  it  in  daylight 
from  the  camera  or  adapter  after  the  twelfth  exposure  has  been  made, 
by  moistening  the  inside  of  the  corner  flaps,  when  they  may  be  stuck 
firmly  to  the  sides. 


104 


DEVELOPMENT 


Fig.  1 


When  ready  to  de- 
velop, break  the  black 
seal  at  the  sides  and 
pull  down  the  bottom 
flap.  (Fig.  1.)  This 
gives  access  to  the 
exposed  film  which  may 
be  removed  as  shown  in 
Fig.  2. 

To  remove  one  or  more  films  for  development  before  the  entire 
package  is  exposed:  Take  the  camera  or  adapter  to  the  dark-room, 

remove  the  pack  and  break 
the  black  seals  as  above. 

After  removing  the  ex- 
posed film,  the  pack  can 
be  replaced  without  sealing 
in  the  camera  or  adapter 
before  leaving  the  dark- 
room and  everything 
Fig.  2  is  ready  for  additional 

exposures. 

IMPORTANT— When  removing  any  films  for  development  before 
all  are  exposed,  do  not  remove  papers  of  safety  cover,  but  leave  them 
to  protect  top  film  after  all  have  been  exposed  and  the  pack  removed 
in  daylight. 

When  all  is  ready  load  each  film  into  its  respective 
compartment  of  the  cage  without  detaching  the  black 
paper.  This  is  readily  done  by  holding  the  film  be- 
tween the  thumb  and  fingers  with  the  black  paper 
toward  the  hand,  and  doubling  the  edges  together  as 
shown  in  Fig.  3.  Slide  them  carefully  down  to  the  bottom  of  each 
compartment,  with  torn  edge  up,  and  see  that  the  center  piece  protrudes 
between  the  edges  of  the  film,  preventing  them  from  coming  together 
during  the  process  of  development. 

When  all  the  films  are  loaded,  place  cage  into  developing  tank 

(Fig.  4)  and  raise  and  lower 
it  slightly  below  the  sur- 
face of  the  developer, 
two  or  three  times, 
to  expel  air  bubbles. 
Replace  the  cover  of 
the  tank  by  dropping 
it  on  and  turning  it  to  the 
right  as  far  as  possible. 


To  Load 
Films 
Into  Cage 


Fig.  3 
THE  FILM  PACK  TANK. 


Note — The  cage  of  the  No. 
1  Tank,  as  compared  with 
iljustration  Fig.  3,  is  slightly 
different  in  appearance,  but 
the  method  of  loading  and 
using  is  exactly  the  same. 


DEVELOPMENT  105 

The  white  light  may  now  be  turned  on  and  the  time  noted. 
The  time  may  be  marked  on  the  dial  which  appears  on  the  face  of  the 
container  in  which  the  developing  powders  come. 

During  development  the  tank  should  be  turned  end  for  end  four 
or  five  times  to  secure  uniform  and  even  development.  At  the 
expiration  of  the  necessary  time,  see  table  on  page  97,  the  top  should 
be  removed  in  the  dark-room  or  in  a  very  subdued  light  and  the  de- 
veloper poured  off.  When  removing  cover  of  solution  cup,  place 
cup  in  palm  of  hand  so  as  to  obtain  a  firm  grip  on  bottom  of  cup. 
Then  grip  cover  with  other  hand  and  turn  slowly  to  left  when  cover 
will  loosen  readily.  The  tank  should  now  be  held  under  a  tap  of  run- 
ning water  or  immersed  for  a  few  seconds  in  a 
vessel  of  clear  water.  The  films  are  then  ready 
for  fixing.  Page  98. 

The  fixing  bath  should  have  been  prepared  in 
a  tray  or  other  vessel,-  the  receiver  taken  from 
tank^—the  metal  hook  being  intended  for  this 
purpose — and  the  films  remove'd  from  the  cage, 
the  black  papers  pulled  off  and  films  placed  in  the 
bath,  leaving  the  tank  and  cage  available  for 
the  next  pack.  The  films  should  be  changed 
about  in  the  bath  two  or  three  times  to  insure 
evenness  of  fixing. 

After  the  films  have  been  fixed  a  sufficient 
length  of  time  so  that  all  the  shadows  are 
perfectly  transparent  and  no  yellowish  spots 
appear  (it  is  advisable  to  allow  them  to  remain  in  the  fixing  solution 
ten  to  fifteen  minutes  longer,  in  order  to  insure  complete  fixation 
and  to  avoid  stains  and  deterioration,  they  should  be  placed  in  a 
tray  under  running  water  and  washed  for  half  an  hour.  Before  fixing 
and  washing  be  sure  that  the  black  papers  are  all  detached.  If 
running  water  is  not  available  the  films  should  be  left  in  the  water 
about  three-quarters  of  an  hour  and  the  water  changed  six  or  eight 
times  to  remove  all  traces  of  Hypo.  For  drying  films  see  page  99. 

The  above  instructions,  if  carefully  followed,  will  produce  the 
most  satisfactory  results,  provided  anything  like  correct  exposures 
have  been  given.  We  recommend  the  use  of  the  Film  Pack  Devel- 
oping Powders  in  these  tanks,  as  they  have  been  compounded  from  the 
purest  chemicals  for  this  purpose. 

For  those  who  wish  to  mix  their  own  solutions,  we  give  the  following 
formulae: 

FOR  No.  1  FILM  PACK  TANK: 

Sodium  Sulphite  (E.  K.  Co.) 60  grp. 

Sodium  Carbonate  (E.  K.  Co.) 75  grs. 

Pyro 22  grs. 

FOR  No.  2  FILM  PACK  TANK: 

Sodium  Sulphite  (E.  K.  Co.) .- .  .  120  grs. 

Sodium  Carbonate  (E.  K.  Co.) 150  grs. 

Pyro 45  grs. 


106  DEVELOPMENT 

FOR  No.  3  FILM  PACK  TANK: 

Sodium  Sulphite  (E.  K.  Co.) 140  grs. 

Sodium  Carbonate  (E.  K.  Co.) 175  grs. 

Pyro 52  grs. 

For  time  and  temperature  follow  instructions  on  page  97. 

Dissolve  the  chemicals  in  the  order  given;  first  the  sulphite  in  four 
or  five  ounces  of  water,  then  add  the  carbonate  and  finally  the  Pyro, 
and  fill  the  tank  to  the  embossed  ring  with  cold  water. 

If  other  brands  of  desiccated  sodas  are  used,  a  greater  quantity  will  be 
required.  If  crystal  sodas  are  used,  about  three  times  the  quantity  of  carbonate  and 
double  the  quantity  of  sulphite. 


SHORT  DEVELOPMENT 

If  it  is  desired  to  shorten  the  time  of  development,  equally  good 
results  can  be  obtained  by  using  two  pairs  of  powders  or  twice  the 
amount  of  chemicals  in  the  above  formulae,  and  developing  for  one 
half  the  time  as  given  in  the  table  on  page  97. 

After  removing  the  exposed  Films  from  the  Pack,  (see 
Developing  page  103)  the  black  paper  to  which  they  will  be  found 
by  the  attached  should  be  removed  and  each  film  placed 

Dark-room  emulsion  side  down  in  a  tray  of  water.  (The  emulsion 
Method  side,  or  face,  is  the  dull  side.)  They  should  be  allowed 

to  stand  two  or  three  minutes  and  then  each  film  should 
be  placed  separately  in  the  developing  tray,  still  face  down.  The 
tray  should  be  rocked  gently  from  time  to  time,  the  films  never  being 
allowed  to  mat  together,  and  the  progress  of  developing  ascertained 
by  holding  the  film  up  to  the  light  of  the  lamp. 

After  completing  development  transfer  to  fixing  bath.    See  page  98. 


DEVELOPING  KODAK  CUT  FILM  IN  THE  KODAK 
DEVELOPING  BOX  NO.  1 

The  "Kodak  Developing  Box  No.  1"  is  for  developing,  fixing  and 
washing  Kodak  Cut  Film,  of  all  sizes  smaller  than  5x7.  Before  the 
box  can  be  used,  however,  six  or  twelve  "Kodak  Cut  Film  Developing 
Hangers"  must  be  secured.  These  can  be  obtained  from  any  dealer  in 
Kodak  Supplies. 

Preparing         The  developer  that  we  recommend  for  use  in  the  '  'Kodak 
the  Developing  Box  No.  1"  is  the  regular  5x7  Eastman 

Developer          Plate  Tank  Developer  Powders.  Prepare  the  developer 
in  the  same  manner  as  described  on  page  96.     As 
there  is  no  embossed  ridge  on  this  tank,  place  an  empty  film  hanger 


DEVELOPMENT 


107 


in  position  across  the  top 
edges  of  the  box  and  if  the 
water  does  not  touch  the 
clips,  then  add  enough  water 
until  it  comes  a  little  above 
the  bottom  of  the  clips. 
This  is  to  make  sure  that 
the  films  are  entirely  covered 
with  developer. 

The  developer  must 
always  be  mixed  fresh  and 
used* but  once. 

DEVELOPER  FORMULA 

For   those   who    wish    to 

prepare  their  own  developer, 

we   Suggest   the   use   of   the 

following  formula: 

Water 

Sodium  Sulphite  (E.  K.  Co.)* 
Sodium  Carbonate  (E.  K.  Co.)' 
Potassium  Bromide      ...     . 
Potassium  Metabisulphite 
Pyro       ....... 


Fig.  I 


64  ounces 

110  grains 

80       " 

6       " 

10       " 

60       " 


Dissolve  the  chemicals  in  the  order  as  given,  and  in  the  manner  as 
described  on  page  96. 

Temperature  of  Developer  should  be  between  60  and  70  degrees  Fahr., 
for  the  best  results. 


Placing  Film    As  the  exposed  films  are  sensitive  to  white  light,  they 
in  Hangers       must  be  loaded  into  the  film  hangers  and  placed  in  the 
developing  box  in  the  dark-room. 

Kodak  Cut  Film  Super-Speed  is  considerably  more  rapid  than  the 
Kodak  Cut  Film  regular  emulsion,  therefore  use  extreme  caution  when 
loading  the  hangers  and  when  inspecting  film  during  development,  not 
to  allow  the  light  from  dark-room  lamp  to  strike  the  film  more  than  a 
few  seconds  while  handling  it. 

Now  take  a  film  hanger  in  the  left  hand  and  centering  the  film  (see 
Fig.  II),  insert  the  edge  (on  the  long  side  of  film)  in  the  jaws  of  one  of 
the  clips.  Press  firmly  on  the  lower  part  of  the  clip  so  that  film  is  held 
securely,  then  attach  the  other  clip  in  the  same  manner. 


•If  other  brands  of  desiccated  Sodium  Carbonate  are  used,  a  greater  quantity  will 
be  required.  If  crystals  are  used,  take  about  three  times  the  quantity  of  Carbonate 
and  double  the  quantity  of  Sulphite. 


108 


DEVELOPMENT 


Fig.  II 


CAUTION:  When  handling  the 
exposed  films  do  not  place  the 
fingers  on  the  emulsion  or  dull 
side  of  the  film,  but  hold  it  by 
the  lower  margin  or  edge. 

After  the  film  has  been  fas- 
tened in  both  clips,  take  hold 
of  the  bottom  edge  of  film  and 
pull  it,  to  see  whether  the  film 
is  clasped  tightly  by  the  clips. 
If  the  film  is  not  securely  fas- 
tened and  comes  loose  from  the 
hanger,  it  will  fall  to  bottom  of 
box  and  the  negative  will  be 
ruined. 

Load  all  the  films  into  the 
hangers  before  putting  them  in 
the  developer  and  place  them  on 
a  clean  sheet  of  paper  that  is 

free  from  dust,  keeping  the  films  apart  in  order  to  avoid  all  danger  of 

scratching  them. 

Put  each  film  in  the  developing  box  separately,  in  rapid 
Developing  succession,  placing  the  hangers  so  that  the  rods  rest  on 

the  edges  of  the  short  sides  of  box  (see  Fig.  I),  taking 
care  that  none  of  the  films  come  in  contact  with  sides  of  the  box  or 
with  each  other.  Twelve  films  or  less,  can  be  developed  at  one  time. 
Develop  but  one  size  of  film  at  a  time.  If  different  sizes  are  developed 
at  the  same  time,  it  will  cause  uneven  development  and  streaked 
negatives.  Keep  the  hangers  separated. 

If  several  films  are  placed  in  the  box  simultaneously  they  will  stick 
together,  causing  development  streaks,  which  will  remain  even  though 
films  are  separated  immediately  after  immersion  in  box. 

Raise  the  hangers  about  an  inch,  one  at  a  time,  every  two  or  three 
minutes  during  the  time  of  development  (keeping  the  films  apart). 
This  allows  the  developer  to  act  evenly  and  adds  brilliancy  and  snap 
to  the  negatives.  When  the  time  of  development  has  been  completed, 
pour  out  the  developer  and  fill  the  box  with  clear  cold  water  leaving 
the  films  in  the  water  for  about  one  minute,  then  pour  out  the  water. 
Repeat  this  rinsing  three  times  in  order  to  eliminate  all  developer  from 
the  films,  then  add  the  previously  prepared  fixing  bath. 

After  the  developer  has  been  properly  pre- 

Time  and  Temperature  pared,  test  the  temperature  wth  a  thermometer. 
for  Tank  Development     Best  results  are   obtained  when  the  tem- 
perature of  the  developer  is  between  60  and 
70  degrees  Fahr. 

When  the  temperature  of  the  developer  is  exactly  70  degrees  Fahr., 
develop  the  film  ten  minutes,  then  for  every  degree  colder  than  70 
degrees,  add  one  minute  to  the  time  for  development.  For  example: 


DEVELOPMENT  109 

If  the  developer  is  65  degrees,  develop  the  film  15  minutes;  if  62  degrees, 
develop  18  minutes,  etc. 

IMPORTANT:  The  above  rule  is  for  the  Kodak  Cut  Film  regular 
emulsion;  if  developing  Kodak  Cut  Film  Super-Speed,  leave  the  film 
in  the  developer  from  10  to  15  per  cent,  longer. 

Temperature  of  the  developer  must  not  exceed  70  degrees  Fahr., 
as  above  that  point  there  is  danger  of  the  emulsion  loosening  from  its 
support. 

It  is  not  advisable  to  use  very  cold  water  as  the  chemicals  will  then 
dissolve  too  slowly  and  the  time  for  development  is  too  long  for  practical 
work. 

If  it  is  desired  to  shorten  the  length  of  time  for  de- 
Short  velopment,  two  pairs  of  the  powders,  or  double  the 
Development  quantity  of  the  chemicals  as  given  in  the  formula  may 
be  used.  If  this  is  done,  the  time  for  development  must 
be  one-half  the  time  that  is  given  in  the  rule  for  development,  when  one 
powder  is  used. 

The  fixing  bath  should  be  prepared  in  some  separate  container 
Fixing     before  starting  the  development  of  the  films,  in  the  manner 
described  on  page  98. 

Make  sure  that  the  bath  entirely  covers  the  films,  add  more  water, 
if  necessary,  to  bring  the  level  of  the  solution  to  the  bottom  of  the  clips. 
Raise  the  films  several  times  during  the  fixing,  in  order  that  they  be 
evenly  fixed.  Allow  the  films  to  remain  in  the  solution  four  or  five 
minutes  after  the  milky  appearance  has  disappeared  from  them;  this 
will  require  about  20  minutes. 

CAUTION:  The  "Kodak  Developing  Box  No.  1"  must  not  be  used 
as  a  storage  tank  for  an  acid  fixing  bath.  The  bath  should  not  be 
allowed  to  remain  in  it  longer  than  is  needed  for  fixing  films;  the  box 
and  hangers  must  be  thoroughly  washed  after  using  it  for  this  purpose. 

We  recommend  the  Kodak  Acid  Fixing  Powder  but  the  formulae 
given  on  page  98  may  be  used  if  desired. 

After  pouring  off  the  fixing  solution  allow  the  films  to  remain 
Washing  in  the  developing  box,  and  place  the  box  under  a  tap  of 
running  cold  water.  Attach  a  rubber  tube  to  the  faucet, 
long  enough  to  carry  the  water  to  bottom  of  box,  this  insures  com- 
plete circulation  of  water.  Leave  the  films  washing  for  half  an  hour 
in  this  manner,  having  a  gentle  current  of  water  running  in  and  out  of 
the  developing  box.  If  running  water  cannot  be  had,  fill  the  develop- 
ing box  with  cold  water  and  allow  the  films  to  remain  for  five  minutes 
each  in  seven  or  eight  changes  of  water.  Move  the  films  about  occa- 
sionally, so  that  they  be  thoroughly  and  evenly  washed. 

Hang  the  negatives  by  means  of  the  hook  on  the  Developing 
Drying  Hangers,  on  a  stretched  string.  Negatives  should  be  dried 

quickly,  and  where  there  is  a  continuous  draft  of  air.  Slow 
drying  in  a  warm,  close  atmosphere  has  a  tendency  to  destroy  the  even 
gradation  secured  in  development. 

Any  sudden  or  great  change  in  temperature  while  drying  is  apt  to 
cause  unequal  density. 


110  DEVELOPMENT 

DEVELOPING  DRY  PLATES 

The  foregoing  directions  apply  to  dry  plates  as  well  as  films,  the 
chemical  treatment  being  the  same,  except  that  the  preliminary  wetting 
may  be  omitted  with  plates. 

Plates,  however,  must  be  handled  in  the  solutions  one  at  a  time, 
as  they  would  scratch  each  other  if  a  larger  number  were  put  into  the 
trays  simultaneously.  They  should  also  be  developed  face  up. 

For  fixing  plates  it  is  best  to  procure  a  fixing  box,  usually  arranged 
with  a  set  of  twelve  grooves.  Each  plate  is  dropped  into  a  groove 
for  fixing,  thus  eliminating  the  danger  of  scratching  or  over-lapping. 

In  washing  plates  be  careful  that  they  do  not  overlap  or 
Washing     touch  each  other,  owing  to  the  likelihood  of  the  corners 
scratching  the  emulsions. 

Note-^Plates  should  be  developed  to  the  same  density  as  film  negatives  and 
may  be  examined,  while  developing,  before  the  dark-room  lamp  in  the  same  manner. 

After  the  negatives  have  been  thoroughly  washed  they  must  be 
dried.  Plates  should  be  stood  on  edge  or  placed  in  a  drying  rack  and 
kept  in  a  cool  place  until  dry.  They  are  then  ready  for  printing. 

DEVELOPING  PLATES  WITH  THE 
EASTMAN  PLATE  TANK 

The  Plate  Tank  is 
the  same  in  theory  as 
the  Kodak  Film  Tank, 
with,  of  course,  such 
modifications  as  are 
rendered  necessary  by 
the  physical  difference 
between  plates  and 
film.  The  Eastman 
Plate  Tank  consists  of 
a  metal  solution  cup 
with  tightly  fitting 
cover,  a  cage  for  hold- 
ing twelve  plates,  or 

less,  during  development  and  an  ingenious  loading  fixture  for  loading 
plates  into  the  cage  in  the  dark-room. 

The  exposed  plates  are  loaded  into  the  cage  and  placed  in  the  tank 
in  the  dark-room,  and  the  tank  coyer  fastened  in  place.  On  the  front 
of  the  tank  is  a  dial  for  registering  time.  Development  is  allowed 
to  continue  for  fifteen  minutes,  at  65°  Fahr.,  the  tank  being  reversed 
several  times.  After  development  the  developer  is  washed  from  the 
plates,  the  cage  removed  from  the  tank  in  subdued  light,  and  the 
plates  placed  in  the  fixing  bath.  (See  page  98.)  After  fixing  the 
plates  are  ready  for  washing  in  the  usual  manner. 


DEVELOPMENT  111 

We  recommend  the  use  of  Pyro.  The  Kodak  and 
The  Eastman  Tank  Developer  Powders  are  prepared  for  use 

Developer  with  the  Eastman  Plate  Tank  and  are  made  from 

Eastman  Tested  Chemicals. 

For  the  4  x  5  Eastman  Plate  Tank  use  a  "2^  and  314-inch"  Kodak 
Film  Tank  Developer  Powder  and  for  the  5x7  Tank,  use  a  5  x  7  East- 
man Plate  Tank  Developer  Powder. 

For  those  who  prefer  to  mix  their  own  chemicals  full  instructions 
will  be  found  with  each  Tank. 

What  Pyro  is  one  of  the  most  popular  developers  but  has 

Developer  a  tendency  to  stain  the  fingers.  Should  this  be  objected 
to  Use  for  to  the  Eastman  Special  or  the  Eastman  Hydrochinon 
Dark-room  Developer  Powders  may  be  used  as  they  do  not  stain 
Develop-  the  fingers.  Few  amateurs  own  a  pair  of  chemist's 

merit  scales  which  are  a  necessity  when  compounding  for- 

mulae. Rather  than  be  uncertain  as  to  correctness  we 
advise  the  use  of  developer  powders;  if  however  the  amateur  desires 
to  mix  his  own  Pyro  developer,  the  following  stock  solutions  are  recom- 
mended: 


PYRO  TRAY  DEVELOPER  FORMULA 

A — Pyro  Solution 

Water      ...........       32    ozs. 

Sodium  Bisulphite 180    grs. 

Pyro 2    ozs. 

B— Soda  Solution 

Water 32    ozs. 

Sodium  Sulphite  (E.  K.  Co.)         ...     1)^    ozs. 
Sodium  Carbonate  (E.  K.  Co.)      .      .      .     1%    ozs. 

For  use,  take: 

Solution  A     .      .      .      .  1  part 

Solution  B     ....  2  parts 

Water       .....  7  parts. 

Note — The  above  formula  is  the  standard  3  solution  Pyro  tray  developer 
iula  made  into  two  solutions  for  the  convenience  of  the  amateur  photographer. 


*If  other  brands  of  desiccated  sodium  carbonate  are  used,  a  greater  quantity  will 
be  required.  If  crystal  sodas  are  used,  take  about  three  times  the  quantity  of  carbon- 
ate and  double  the  quantity  of  sulphite. 

Note — By  making  a  comparison  between  the  developing  solution  used  in  the 
developing  tanks  with  those  in  use  for  dark-room  development,  sodium  sulphite  is 
in  excess.  The  reason  for  this  is  that,  owing  to  oxidation  when  exposed  to  the  air  as 
in  dark-room  development,  the  sodium  sulphite  is  necessary  to  prevent  the  negative 
becoming  too  yellow.  By  the  tank  method  we  may  use  a  minimum  of  sulphite  as  the 
negatives  are  not  subject  to  this  fault. 


112  DEVELOPMENT 


A  FEW  REMARKS  UPON  DEVELOPMENT 

The  foregoing  pages  fully  cover  the  subject  of  development  so  far 
as  telling  the  beginner  exactly  what  to  do  is  concerned,  but  a  few 
words  on  the  theory  of  development  will  nevertheless  prove  valuable. 

An  exposed  and  unexposed  film  do  not  differ  so  far  as  the  eye  can 
judge.  It  is  necessary,  therefore,  to  "develop"  the  exposed  film  to 
reveal  the  latent  or  invisible  image  caused  by  the  action  of  light. 

The  chemicals  of  the  developer  are: 

The  action  of  developing  agent,  such  as  Pyro,  Hydrochinon,  and 
Hydrochinon  in  combination  with  Elon,  affects  the  latent  image  by 
reducing  to  metallic  silver  those  parts  which  have  been  affected  by 
the  light.  In  other  words  it  blackens  them.  But  these  agents  require 
the  use  of  another  substance  to  give  them  energy. 

An  alkali  when  mixed  with  the  active  developing  agent 
Accelerator  gives  it  a  greater  affinity  for  oxygen;  it  therefore 

becomes  more  energetic  as  a  reducer.  This  alkali  is 
called  an  accelerator.  The  alkalies  most  commonly  used  are  Sodium 
Carbonate  and  Potassium  Carbonate. 

A  restrainer  is  a  substance  that  has  the  power  to 
Restrainer  restrain  or  retard  the  action  of  development;  Potassium 

Bromide  most  commonly  used  for  that  purpose,  has 
the  property  of  dissolving  a  certain  amount  of  Silver  Bromide  from 
the  film,  thereby  forming  a  double  salt  which  is  less  easily  reduced  by  the 
developer.  This  action  having  taken  place,  the  development  is  much 
slower;  hence  the  name  "restrainer." 

The  preservative  is  a  substance  that  will  keep  the 
Preserva-  developer  from  discoloring  and  pxydizing  when  it  is  to 

tive  be  kept  for  future  use.  "Sodium  Sulphite"  is  most 

commonly  used  for  that  purpose;  it  also  has  much  to 
do  with  the  color  of  the  negative.  If  only  a  small  portion  is  used  the 
negative  will  be  brown,  the  quality  being  harsh  and  hard  and  one  that 
will  give  you  a  print  of  much  contrast,  while  the  use  of  a  greater  portion 
gives  a  gray,  soft  negative  with  more  detail. 

The  fixing  or  clearing  of  a  negative  is  due  to  the  action 
Fixing  the  of  the  "Hypo"  eating  out  the  Silver  Bromide  not 
Negative  acted  upon  by  the  light,  and  until  this  has  been  accom- 

plished it  is  still  sensitive.  When  the  milky  appearance 
on  the  back  of  the  negative  disappears  it  may  be  called  "fixed,"  and 
can  then  be  taken  from  the  bath  and  exposed  to  any  light  without 
fear  of  injury. 

After  fixing,  the  negative  must  be  thoroughly  washed 
Washing  to  remove  hypo  or  staining  will  result.  The  hypo, 

unless  entirely  removed,  would  also  ruin  the  sensitive 
paper  upon  which  the  print  is  to  be  made,  even  before  it  would  show 
stain  on  the  negative. 


Printing 


HAVING  developed  the  negatives  the  final  step  in  the  picture  mak- 
ing is  now  in  order — making  the  prints.      For  printing  there  are 
many  papers — grouped  under  two  general  classes,  "printing-out"  papers, 
where  the  image  is  visible  after  printing,  and  "develop ing-out"  papers 
which  require  a  developing  solution  to  make  the  image  visible. 

For  the  amateur  there  is  no  more  satisfactory  printing  process 
than  that  offered  by  the  use  of  Velox,  which  is  a  developing-out  paper. 
Prints  made  by  this  process  give  a  rich  effect  not  excelled  by  any  other 
paper. 

Velox  can  be  printed  by  either  artificial  light  or  daylight.  Like 
an  exposure  on  film  the  image  is  not  visible  until  development. 

The  process  is  simple,  but  like  all  others,  it  requires  some  skill 
and  judgment,  both  of  which  can  easily  be  acquired  by  strict  adherence 
to  the  given  rules  and  formulae. 

Velox  is  suitable  for  every  class  of  work,  as  is  fully  demonstrated 
under  the  heading  of  "Surfaces  and  Degrees  of  Contrast."  Velox 
should  not  be  confused  with  Bromide  or  any  other  paper;  it  has  dis- 
tinctive qualities  of  its  own  which  have  never  been  successfully  imitated. 
Many  improvements  have  recently  been  made  in  its  manufacture  and 
today  Velox  is  the  perfected  product  of  years  of  experiment. 

The  different  surfaces,  grades  and  degrees  of  contrast  in  which  it 
is  manufactured  enable  the  user  to  produce  good  prints  f rom  almost 
any  negatives,  suiting  his  tastes  as  well  as  the  peculiar  requirements 
of  the  negatives. 

Velox  is  made  in  four  different  surfaces  on  white  stock 
Surfaces  and  one  (Royal)  on  buff  stock  and  is  divided  broadly  into 

and  Degrees  three  degrees  of  contrast,  called  "Contrast,"  "Regular" 
of  Contrast  and  "Special."  As  these  trade  terms  have  reference  to 

contrast  and  not  to  surface,  we  could  as  well  say  "hard," 
"medium"  and  "soft."  There  will  be  found  a  variety  of  surfaces. 
Choose  the  surface  which  you  prefer  and  the  degree  of  contrast  best 
adapted  to  each  negative,  remembering  that  "Special"  should  be  used 
with  negatives  of  average  or  normal  density,  also  with  strong  or  contrasty 
negatives.  "Regular"  is  for  use  with  flat  negatives  and  "Contrast" 
with  extremely  flat  or  thin  negatives. 

Royal  Velox  is  furnished  in  both  "Special"  and  "Regular"  but 
in  one  weight  only,  and  differs  from  the  other  Velox  papers  in  that 
it  is  coated  on  a  stock  having  a  cream  tint,  just  a  soft  mellow  tone 
that  prevents  harshness  in  the  highlights.  The  stock  is  somewhat 
heavier  than  the  usual  Velox  stock,  about  halfway  between  the  single 
and  the  double  weight. 


114  PRINTING 

Royal  Velox  prints  are  delightful  when  developed  in  the  ordinary 
way,  but  to  get  their  full  value  should  be  re-developed.  (See  page  125.) 

The  following  table  of  grades,  surfaces  and  degrees  of  contrast  of 
Velox  should  be  an  aid  to  anyone  using  this  paper: 

GRADES,  SURFACES  AND  DEGREES  OF  CONTRAST 

GRADE  SURFACE  CONTRAST 

*Velvet  Velox  Semi-Gloss  Special 

*Velvet  Velox  Semi-Gloss  Regular 

*Velvet  Velox  Semi-Gloss  Contrast 

*Portrait  Velox  Smooth  Matte  Special 

Carbon  Velox  Matte  Special 

Carbon  Velox  Matte  Regular 

Carbon  Velox  Matte  Contrast 

*Glossy  Velox  Enameled  Special 

*Glossy  Velox  Enameled  Regular 

Glossy  Velox  Enameled  Contrast 

Royal  Velox  Semi-Gloss  Special 

Royal  Velox  Semi-Gloss  Regular 

Velox  prints  may  be  successfully  made,  using  daylight 
Manipula-  for  exposure,  but  we  strongly  recommend  that  artificial 
tion  light  be  used,  as  it  is  much  more  uniform,  and  it  will, 

therefore,  be  easier  to  obtain  satisfactory  prints.  If 
daylight  is  used,  select  a  north  window,  if  possible,  as  the  light  from 
this  direction  will  be  more  uniform. 

Owing  to  its  sensjtiveness,  the  paper  should  be  handled  in  a  very 
subdued  or  yellow  light,  otherwise  it  will  fog.  Proper  precautions 
should  be  taken  to  pull  down  the  window  shades  and  darken  the  room 
sufficiently  during  manipulation.  To  test  your  working  light,  place 
an  unexposed  sheet  of  Special  Velox,  emulsion  side  up,  on  your  work 
table  in  the  same  position  that  your  developing  tray  occupies;  cover 
one-half  of  it  with  a  sheet  of  cardboard  and  let  it  remain  there  for  two 
minutes,  then  develop  it  face  down  for  45  seconds.  If  the  half  of  the 
sheet  which  was  uncovered  turns  gray,  or  black,  and  the  covered  portion 
remains  white,  it  is  a  positive  indication  that  the  light  you  are  using 
is  too  strong.  If,  however,  the  entire  sheet  remains  white,  your  light 
is  safe.  Never  handle  Velox  in  a  light  that  will  not  stand  this  test. 
If  the  light  is  too  strong  for  printing  it  should  be  subdued  or  diffused 
by  the  use  of  several  thicknesses  of  white  tissue  paper.  In  the  following 
instructions  for  manipulating  Velox,  it  must  be  understood  that  artificial 
light  will  be  the  light  used.  A  kerosene  lamp,  fitted  with  a  round  burner 
(known  as  a  Rochester  burner),  may  be  used,  but  owing  to  the  decidedly 
yellow  light  this  gives,  a  considerably  longer  exposure  will  be  necessary 
than  when  using  a  Mazda  lamp. 


*Furnished  also  in  double  weight  Velox;  double  weight  papers  require  no 
mount  and  when  printed  under  a  mask,  which  will  insure  a  white  margin,  have  a  very 
artistic  effect. 


PRINTING 


115 


The  comparative  exposures  using  Special  Velox,  with  an  average 
negative  using  various  sources  of  light,  are  as  follows: 


Size 
of 
Negative 

Distance 
from 
Light 

60-Watt 
Mazda 

40-Watt 
Mazda 

25-Watt 
Mazda 

Welsbach 
Burner 

(Gas) 

Average 
Oil 
Lamp 

3M  x  5'/i 
4  x  5  and 
Smaller 

10 
Inches 

4 
Seconds 

6 
Seconds 

12 
Seconds 

16 

Seconds 

50 
Seconds 

Note — When  using  Regular  Velox  and  Contrast,  increase  the  exposure. 


This  table  is  only  approximate,  as  owing  to  the  different  lights 
used  and  the  varying  densities  of  negatives,  it  is  impossible  to  give 
an  absolute  rule.  It  serves,  however,  as  a  guide  to  enable  the  beginner 
to  approximate  the  correct  exposure.  From  this  you  can  obtain  the 
correct  time,  always  being  guided  by  the  rule  on  page  118,  as  to  the 
time  of  development. 

"Special"  Velox  should  be  used  when  printing  from  an 
The  Right  average  or  normal  negative,  also  with  contrasty  negatives 
and  Wrong  or  when  soft  effects  are  desired.  Regular  Velox  is  for 
Paper  use  with  flat  negatives  and  Contrast  Velox  is  adapted  to 

to  Use  extremely  flat  negatives  or  when  hard,  contrasty  prints 

are  required. 

To  those  familiar  with  Velox  paper  it  is  an  easy  matter  to  select  the 
degree  of  contrast  which  is  best  suited  for  the  results  desired.  The  novice, 
however,  is  guided  usually  by  the  advice  of  others  and  often  is  misled 
into  using  a  wrong  degree  of  contrast,  thereby  failing  to  secure  the  results 
expected  and  is  inclined  to  believe  that  the  paper  is  at  fault.  It  would, 
therefore,  be  advisable  to  keep  on  hand  the  three  degrees  of  contrast 
and  when  in  doubt  as  to  which  should  be  used  this  can  be  easily  deter- 
mined by  making  comparative  tests  with  each  degree  of  contrast. 

The  following  illustrations  will  act  as  a  guide  to  the  best  paper, 
Special,  Regular  or  Contrast  Velox,  to  be  used  with  negatives  varying 
as  to  their  contrasts.  The  illustrations  do  not  show  a  normal  or  average 
negative;  the  contrast  between  the  highlights  and  shadows  of  such  a 
negative  would  be  between  that  shown  in  Figs.  I  and  II.  The  Special 
Velox  should  be  used  for  such  negatives. 

When  selecting  the  proper  paper  remember  that  Contrast  Velox  is 
best  adapted  for  use  with  the  thinnest  and  flattest  negatives. 


116 


PRINTING 


FIG.  I. 


This  represents  a  weak,  thin 
or  flat  negative,  one  with  little 
contrast  between  the  highlights 
and  shadows,  and  is  therefore 
adapted  to  use  with  Regular  or 
Contrast  Velox. 


This   represents  a   negative 

of  strong  contrast.  This  kind 

of  negative  should  be  printed 
on  Special  Velox. 


FIG.  III. 


This  shows  the  result  of 
printing  from  a  weak,  thin  or 
flat  negative  (Fig.  I)  on  Special 
Velox.  The  wrong  paper  to 
use. 


This  represents  a  print  from 
negative  shown  in  Fig.  II,  on 
Regular  Velox,  showing  very 
little  detail  in  highlights.  The 
wrong  paper  for  a  contrasty 
negative. 


PRINTING 


117 


This  represents  a  print  on 
Regular  Velox  from  negative 
shown  in  Fig.  I.  The  right 
paper,  for  a  weak,  thin  or  flat 
negative.  Contrast  Velox  is  for 
use  with  very  flat  negatives. 


FIG.  VI. 

This  shows  result  of  print- 
ing on  Special  Velox  from 
negative  shown  in  Fig.  II. 
The  right  paper  for  a  contrasty 
negative.  Also  suitable  for  the 
average  or  normal  negative. 


An  over-exposed  and  over-developed  negative  (difficult  to  illustrate) 
is  dense  throughout,  necessitating  a  very  long  exposure  to  the  light  in 
order  to  affect  the  paper.  Such  a  negative  is  best  printed  on  Regular 
or  Contrast  Velox. 

The  absolute  necessities  for  making  Velox  prints  are 
Printing          few  in  number  and  simple  in  character.    Either  daylight 
Requisites      or  artificial  light  is,  of  course,  essential;   also  developing 
and  fixing  solutions  and  water  for  washing  the  prints. 

The  ordinary  printing  frame  is  used  in  making  exposures. 

Aside  from  suitable  light  and  workroom,  you  will  require: 

3  trays,  preferably  enameled  iron  (a  full  size  larger  than  the  prints 
to  be  made.) 

1  printing  frame  (and  glass  to  fit,  if  films  are  to  be  printed). 

1  4-oz.  graduate. 

1  bottle  Nepera  Solution. 

1  bottle  Velox  Liquid  Hardener. 

1  Ib.  Crystal  or  Granulated  Hypo. 

1  package  each  Special,  Regular  and  Contrast  Velox. 

Arrange  the  three  trays  on  the  work  table  in  this  order: 


Clean  Water 


X  Towel 


Do  not  allow  the  direct  rays  of  light  used  for  printing  to  strike 
tray  No.  1,  which  is  used  for  the  developer.  Place  a  piece  of  red  or 
orange  colored  paper  between  the  light  and  tray  No.  1,  so  as  to  obtain 
a  subdued  and  safe  light.  By  doing  so  it  will  prevent  the  light  fogging 
the  paper  during  development. 


118  PRINTING 

In  the  center  of  the  above  spaces  we  have  indicated  the  solution 
which  each  tray  should  contain  when  developing  either  Special. 
Regular  or  Contrast  Velox.  Do  not  be  too  sparing  of  the  amount  of 
solutions  used,  especially  of  your  fixing  bath  (Tray  No.  3);  if  making 
four  or  five  dozen  prints  (3J4  x  4%),  use  a  full  pint  (see  formula,  page 
121);  and  do  not  keep  after  using,  as  a  fresh  bath  will  give  the  best 
results. 

Correct  temperature  is  important  and  for  the  best  results  the  developer 
should  be  70  degrees  Fahr.  and  the  fixing  bath  and  wash  water  should  not 
exceed  65  degrees  Fahr.  If  the  developer  exceeds  70  degrees  the  prints 
are  liable  to  fog  and  the  emulsion  soften.  If  too  cold,  chemical  action 
is  retarded,  resulting  in  flat,  weak  prints. 

You  are  now  ready  for  an  exposure  and  the  printing 
Making  frame  should  be  filled.  Place  the  sensitized  side  of 

the  Print  the  sheet  of  Velox  against  the  face  or  dull  side  of  the 

negative.  The  paper  curls  slightly,  the  sensitive  side 
being  concave.  An  absolute  test  is  to  bite  the  corner  of  the  sheet;  the 
sensitive  side  will  adhere  to  the  teeth. 

Place  the  printing  frame  the  correct  distance  from  the  artificial 
light  used,  holding  the  frame  away  from  the  light  a  distance  equal 
to  the  diagonal  of  the  negative.  To  prove  that  the  light  is  evenly 
diffused  at  the  point  selected  for  exposure,  take  a  piece  of  white  card- 
board, the  size  of  the  negative,  and  move  its  position  with  reference 
to  the  light,  until  you  find  the  shortest  distance  at  which  an  even 
illumination  is  secured.  A  few  seconds  exposure  will  be  required 
when  printing  an  average  negative  on  Velox.  We  would  suggest  before 
making  the  first  exposure,  the  cutting  of  a  piece  of  Velox  paper  into 
strips  about  an  inch  wide,  and  placing  one  of  them  over  an  important 
part  of  the  negative,  make  the  exposure,  using  your  best  judgment 
as  to  the  distance  from  the  light  and  the  time  of  printing.  Develop 
it  and  if  not  satisfied  try  another  strip,  varying  the  time  as  indicated  by 
the  first  result.  When  the  desired  effect  is  secured,  you  can  make 
any  number  of  prints  from  the  same  negative,  and  if  the  time  of  exposure, 
distance  from  light  as  well  as  the  time  of  developing  are  the  same  as  for 
the  satisfactory  test  print,  all  the  succeeding  prints  will  be  equally  good. 
By  comparing  your  other  negatives  with  the  one  you  have  tested  you 
will  be  able  to  make  a  fairly  accurate  estimate  of  the  exposure  required 
for  any  negative. 

After  taking  the  exposed  piece  of  paper  from  the  printing  frame, 
in  a  safe  place  previously  selected,  it  is  ready  for  development.  The 
dry  print  should  be  immersed  face  up  in  the  developer  (Tray  No.  1) 
and  quickly  and  evenly  covered  with  the  solution.  Special,  Regular 
and  Contrast  Velox  should  be  exposed  so  as  to  develop  to  the  proper  depth 
in  about  forty-five  seconds.  As  soon  as  the  image  has  reached  the  desired 
depth  remove  from  the  developer  to  the  second  tray  and  rinse  for  a 
moment,  turning  the  print  once  or  twice,  then  place  it  in  the  acid 
fixing  bath  (Tray  No.  3),  keeping  the  print  moving  for  a  few  seconds, 
the  same  as  was  done  when  rinsing;  move  prints  about  occasionally  so 
as  to  give  even  and  thorough  fixing,  preventing  stains  and  other  troubles. 
Leave  the  prints  in  this  solution  until  thoroughly  fixed;  this  will  take 


PRINTING  119 

about  fifteen  minutes.  When  fixed  remove  from  fixing  bath  and 
wash  thoroughly  for  about  an  hour  in  running  water,  then  dry.  If 
running  water  is  not  available,  then  the  prints  may  be  placed  in  a  tray 
or  washbowl  of  cold  water,  and  left  for  five  minutes  each,  in  ten  or  twelve 
changes  of  water.  Move  the  prints  about  occasionally  to  ensure 
the  water  acting  evenly  on  the  surface  of  the  prints,  and  to  make 
sure  that  the  hypo  is  entirely  eliminated.  After  drying,  prints  may 
be  trimmed  and  mounted. 

Be  systematic  in  working,  remember  that  cleanliness  is  essential  in 
photography.  Care  should  be  taken  to  prevent  the  hypo  in  any  way 
getting  into  the  tray  containing  the  developer.  Have  a  clean  towel 
when  beginning  work  and  rinse  and  wipe  the  hands  each  time  after 
handling  prints  in  hypo  solution. 

Velox  requires  a  special  developer  and  should  not  be 
Notes  on  used  with  one  made  for  plate  and  film  development 
Develop-  only.  Nepera  Solution,  however,  is  a  universal  developer 
ment  — see  page  120.  Various  developing  agents  are  used  in 

the  production  of  Velox  prints  and  are  marketed  under 
different  trade  names.  It  has  been  proven,  however,  that  Elon  and 
Hydrochinon  in  combination  yield  the  very  best  results  on  Velox  when 
used  in  the  proportion  given  in  our  formula.  Owing  to  the  difficulty 
many  have  in  securing  absolutely  pure  chemicals  and  the  trouble  and 
subsequent  loss  of  material  to  those  attempting  to  compound  their  own 
developers,  we  recommend  the  use  of  our  liquid  developers  Nepera 
Solution  and  Velox  Liquid  Developer,  for  Velox  papers.  To  those  who 
prefer  to  prepare  their  own  solution,  we  recommend  the  following 
formula : 

M.  Q.  DEVELOPER 

(Elon-Hydrochinon) 

Hot  Water  (about  125°) 8  ozs. 

Elon 22grs. 

Sodium  Sulphite  (E.  K.  Co.)'  .      .  %  oz. 

Hydrochinon       .     ".     .      .      .      .      .      .  65  grs. 

Sodium  Carbonate  (E.  K.  Co.)      .      .      .  1J4  ozs. 

Potassium  Bromide 7  grs. 

Water  to  make 16  ozs. 

This  solution  will  keep  indefinitely  if  placed  in  bottles  filled  to  the 
neck  and  tightly  corked.  It  should  be  used,  diluted  with  equal  parts 
of  water,  for  the  "Special"  "Regular"  and  "Contrast"  papers. 

Note — If  other  brands  of  desiccated  Sodium  Carbonate  are  used  a  greater 
quantity  will  be  required.  If  crystals  are  used,  take  about  double  the  quantity  of 
Carbonate  and  double  the  quantity  of  Sulphite. 

It  is  important  that  the  temperature  of  the  developing  solution 
should  be  70  degrees  Fahr.  In  summer,  if  found  necessary  to  cool 
the  developer,  do  not  place  ice  in  the  solution,  as  it  will  dilute  it.  t  Place 
the  tray  containing  developer  into  one  of  larger  size,  with  ice  around  it. 


120  PRINTING 

This  is  known  as  the  "universal"  developer  because  it 
Nepera  may  be  used  not  only  for  Velox,  but  Azo,  bromide 

Solution  paper,  films  or  plates.  Like  all  Nepera  liquids,  it  is  a 

concentrated  solution  with  the  combination  of  purest 
chemicals  which  will  give  the  best  results.  When  used  in  combination 
with  Nepera  Auxiliary  Powders,  it  is  excellent  for  films  or  plates,  giving 
negatives  of  the  quality  best  suited  for  developing-out  paper. 

For  Special,  Regular  or  Contrast  Velox  use: 

Nepera  Solution       .......  1  oz. 

Water 4  ozs. 

Develop  for  about  45  seconds. 
The  temperature  of  the  bath  should  be  70  degrees  Fahr. 

This  is  an  excellent  ready-to-use  concentrated  developer 
Velox  for  Velox  papers.  Unlike  any  other  developer,  it  has 

Liquid  certain  qualities  which  make  it  different  in  its  action, 

Developer  as  it  gives  a  guide  to  indicate  when  the  print  is  thoroughly 

fixed. 

When  using  this  developer  the  print  turns  a  canary  yellow,  and  this 
color  does  not  disappear  until  the  print  is  completely  fixed.  Fifteen 
minutes  in  the  acid  fixing  bath  will  remove  this  color,  provided  the  bath 
is  of  proper  strength. 

If  the  yellow  color  remains,  it  indicates  that  the  print  is  not  fixed 
and  it  should  be  returned  and  allowed  to  remain  longer  in  the  fixing 
bath,  or  transferred  to  a  bath  of  proper  strength  until  the  yellow 
color  entirely  disappears. 

This  developer  has  a  tendency  to  produce  soft  effects  on  Velox 
papers. 

For  Special,  Regular  or  Contrast  Velox  use: 

Velox  Liquid  Developer      .      .      .      .      .  1  oz. 

Water .-•.-.•.•.•        4  ozs. 

The  temperature  of  the  bath  should  be  70  degrees  Fahr. 

VELOX  LIQUID  DEVELOPER  MUST  NOT  BE  USED  FOR 
DEVELOPING  FILMS,  PLATES  OR  BROMIDE  PAPERS,  NOR 
FOR  VELOX  PAPER  WHEN  IT  IS  TO  BE  RE-DEVELOPED 
TO  THE  SEPIA  TONE. 

Hypo  may  be  obtained  for  use  in  either  a  granulated 
Fixing  or  crystal  form.  Its  purpose  is  to  dissolve  the  silver 

salts  which  have  not  been  acted  upon  by  light.  The 
importance  of  the  chemical  is  evident,  but  it  is  probable  that  no  part 
or  process  of  photography  is  more  abused  than  that  of  correctly  pre- 
paring a  fixing  bath  and  properly  fixing  prints.  To  secure  permanency, 
prints  must  be  fixed  in  a  fresh  acid  fixing  bath.  When  hypo  is  first 
dissolved  in  water,  the  temperature  of  the  solution  is  materially  reduced. 
It  is  important  that  the  temperature  of  a  fixing  bath  should  not  exceed  65 


PRINTING  121 

degrees  Fahr.  Probably  more  prints  change  color  from  insufficient 
fixing  than  lack  of  washing,  so  these  points  should  be  given  attention. 
Have  plenty  of  solution.  Always  use  the  acid  hardener  in  the  bath  as  it 
will  overcome  the  tendency  of  the  fixing  bath  to  cause  blisters  and  stains, 
and  move  the  prints  about  for  the  first  few  seconds  after  immersion  to  stop 
the  action  of  the  developer  at  once  over  the  entire  surface  of  the  print. 

Move  the  prints  about  occasionally  during  the  time  of  fixing,  to  avoid 
stains  and  other  troubles. 

Kodak  Acid  Fixing  Powder  is  supplied  in  packages 
Kodak  Acid  of  different  sizes,  which  contain  all  the  chemicals 
Fixing  Powder  necessary  to  prepare  a  correct  acid  fixing  bath. 

We  recommend  its  use  as  it  is  the  most  convenient 
and  easy  to  prepare. 

Directions  for  preparing  are  given  on  each  package. 

If  the  amateur  prefers  to  mix  his  own  fixing  bath,  the  following 
formula  is  recommended. 

Our  formula  for  preparing  the  Acid  Hypo  fixing  bath  is  as  follows: 

Water 64  ozs. 

Hypo  (crystal  or  granulated)   ....          16  ozs. 

When  thoroughly  dissolved,  add  the  following  hardening  solution, 
dissolving  the  chemicals  separately  and  in  the  order  named : 

Water 5  ozs. 

Sodium  Sulphite  (E.  K.  Co.)    ....  1  oz. 
Acetic  Acid    (containing  28  per  cent. 

pure  acid) 3  ozs. 

Powdered  Alum 1  oz. 

This  solution  will  keep  if  placed  in  tightly  corked  bottles,  and 
one  pint  of  it  will  fix  one-half  gross  of  3J4  x  5^>  prints  or  their  equivalent. 
If  Sodium  Sulphite  in  crystal  form  is  substituted  for  desiccated,  double 
the  quantity  mentioned  should  be  used. 

Amateurs  will  find  it  advisable  to  use  our  prepared  solutions,  and 
the  concentrated  Velox  Liquid  Hardener  is  especially  recommended: 

Water 16  ozs. 

Hypo 4  ozs. 

Velox  Liquid  Hardener 1  oz. 

When  fixing  Kodak  Velvet  Green  prints,  double  the  quantity  of 
water  used  in  the  two  preceding  formulae.  * 

The  finished  prints  must  be  entirely  free  from  hypo. 
Notes  on  To  wash  a  batch  of  prints,  using  two  trays  of  suitable 
Washing  size  and  transferring  each  print  separately  from  one 

tray  to  the  other,  changing  the  water  at  least  twelve 
times,  will  take  a  full  hour  for  the  process.  In  running  water, 


*To  those  who  wish  to  purchase  the  Developer  and  Acid  Fixing  Bath  in  dry 
form,  we  recommend  our  tube  developers  for  Velox  and  Kodak  Acid    Fixing  Powders. 


122  PRINTING 

where  the  prints  can  be  kept  constantly  moving  so  that  each  individual 
print  has  a  thorough  washing,  from  one-half  to  one  hour,  according 
to  the  number  of  prints,  will  be  required.  Prints  will  not  wash  if 
piled  in  a  heap  in  a  tray  and  the  water  simply  runs  in  at  one  end  of 
the  tray  and  out  at  the  other.  In  some  localities  where  there  is  an 
excessive  amount  of  iron  or  impurity  in  the  water,  the  whites  in  the 
prints  may  have  a  slight  yellowish  tone  or  small  red  spots  may  appear. 
These  can  be  prevented  by  filtering  the  water  used  through  several 
thicknesses  of  muslin  or  one  thickness  of  canton  flannel.  Prints  need 
not  be  washed  any  longer  than  is  necessary  to  completely  free  them 
from  hypo.  The  temperature  of  the  water  in  winter  should  be  kept 
as  uniform  as  possible,  as  ice-cold  water  will  cause  blistering.  When 
running  water  is  used  for  washing,  the  stream  should  not  be  allowed  to 
fall  directly  on  the  prints  as  it  will  cause  breaks  in  the  fiber  of  the  paper, 
producing  blisters.  Place  a  tumbler  or  graduate  in  the  washing  tray 
and  allow  the  water  to  run  into  it  and  overflow  into  the  tray. 

Test  for  To  determine  when  the  print  is  thoroughly  free  from 
Hypo  hypo,  the  following  test  formula  may  be  successfully 

employed: 

Potassium  Permanganate 8  grs. 

Water  (distilled)  . 


This  solution  should  be  made  up  fresh  at  least  once  a  month. 

Fill  a  graduate  with  pure  water  and  add  three  or  four  drops  of  the 
permanganate  solution.  Then  take  a  couple  of  prints  from  the  wash- 
water  and  allow  the  water  from  the  prints  to  drip  into  the  graduate. 
If  hypo  is  present,  the  violet  color  of  the  water  will  change  to  a  slight 
greenish  tint  in  from  five  to  seven  minutes.  In  such  case  throwT  out 
the  permanganate  and  return  prints  to  the  wash-water  to  remain  until 
similar  tests  show  that  the  hypo  has  been  entirely  eliminated,  which  is 
indicated  by  the  solution  in  the  glass  remaining  a  violet  color. 

After  prints  have  been  thoroughly  washed,  remove  from 
Drying  the  wash-water  and  place  on  a  clean  glass  in  a  pile  face 

down  and  press  out  superfluous  water.  Then  lay  out 
separately,  face  down  on  cheesecloth  stretchers.  These  may  be 
constructed  by  making  a  framework  of  light  wood  and  tacking  un- 
bleached cheesecloth  tightly  over  it.  Prints  dried  in  this  manner  will 
curl  very  slightly. 

If  stretchers  are  not  used,  dry  the  prints  face  down  on  clean, 
uncolored  cloth,  or  towels,  which  are  free  from  lint. 

Never  dry  Velox  prints  between  blotters  or  on  papers.  They  are 
likely  to  stick  and  cause  much  annoyance. 

Glossy  Velox  (not  Matte  or  Semi-Gloss)  prints  can 
Enameled  be  burnished  or  squeegeed.  Take  prints  from  the  wash- 
Surface  water  and  place  face  down  on  a  ferrotype  tin,  squeegee 
Paper  into  absolute  contact  and  allow  to  become  bone  dry,  when 

they  will  peel  off  with  the  desired  luster.  If  the  tin  has 
been  in  use  for  some  time,  portions  of  prints  may  stick;  to  prevent  this, 
prepare  the  tins  in  the  following  manner: 


PRINTING  123 

Dissolve  ten  grains  of  paraffin  in  one  ounce  of  benzine.  The  solution 
should  be  used  for  polishing  the  tins,  applying  to  the  surface  of  the 
ferrotype  plate  with  a  soft  cloth  (canton  flannel).  When  the  surface 
of  the  tin  has  been  thoroughly  covered  with  this  preparation  it  should 
be  polished  with  a  piece  of  dry  canton  flannel  to  remove  as  much  of 
the  paraffin  as  possible. 

Clean  the  tins  occasionally  with  hot  water,  in  order  to  remove 
any  particles  of  gelatine  which  may  remain  on  them  from  former  prints. 

The  simplest  and  most  satisfactory  way  to  mount 
Mounting  prints  is  by  using  Kodak  Dry  Mounting  Tissue,  as 

by  this  process  the  prints  are  mounted  in  absolute 
contact  and  will  not  curl  even  on  thin  mounts. 

Kodak  Dry  Mounting  Tissue  is  dry  and  not  sticky  to  handle, 
mounting  is  accomplished  quickly  and  no  time  is  lost  waiting  for  prints 
to  dry  'after  mounting.  Two  prints  may  be  mounted  back  to  back,  and 
being  free  from  curl  can  then  be  used  as  an  album  leaf.  Any  print  may 
be  mounted  with  the  tissue  and,  as  it  is  water  proof,  there  is  no  possi- 
bility of  the  print  becoming  stained  from  any  chemical  in  the  mount 
stock. 

To  use  the  tissue,  lay  a  print  on  its  face  and  tack  to  the  back  of 
it  a  piece  of  tissue  of  the  same  size  or  a  little  larger  than  the  print,  by 
applying  the  point  of  a  hot  iron  to  small  spots  at  opposite  ends.  Turn 
the  print  face  up  and  trim  print  and  tissue  to  desired  size.  Place  in 
proper  position  on  mount,  cover  the  print  with  a  piece  of  smooth, 
unprinted  paper  and  press  the  whole  surface  with  a  hot  flatiron.  Press 
don't  rub.  The  iron  should  be  just  hot  enough  to  siss  when  touched 
with  a  wet  finger.  If  the  iron  is  too  hot,  the  tissue  will  stick  to  the 
mount  and  not  to  the  print;  if  too  cold,  the  tissue  will  stick  to  the  print 
and  not  to  the  mount.  Remedy — Lower  or  raise  the  temperature  of  the 
iron  and  apply  again. 

For  mounting  with  paste  the  following  plan  is  best: 

Prints  should  be  trimmed  to  size  desired  before  mounting.  They 
should  be  dry  and  perfectly  flat  for  trimming,  and  a  trimming  board 
used  instead  of  a  knife  and  ruler,  for  with  the  board  absolutely  true 
edges  may  be  obtained. 

After  the  prints  are  trimmed,  immerse  them  in  a  tray  of  clean 
water,  allowing  them  to  soak  long  enough  to  become  thoroughly  limp. 
Remove  to  a  good  sized  piece  of  clean  glass,  placing  them  in  a  pile  face 
down.  Cover  with  a  piece  of  clean  blotting  paper  and  with  a  print 
roller  or  a  squeegee,  press  all  the  superfluous  water  from  the  pile.  Then 
with  a  good  bristle  paste  brush  apply  a  thin,  even  coating  of  Kodak  or 
Eastman  Photo  Paste.  Raise  the  print  by  taking  hold  of  the  two 
opposite  corners  and  turning  it  over,  place  in  position  on  the  mount. 
Lay  a  clean,  dry  blotter  over  the  print  and  with  the  roller  press  into 
contact.  Any  lint  or  fuzz  from  the  blotter,  or  any  paste  on  the  surface 
of  the  print  should  be  immediately  removed  with  a  soft  sponge  or  damp 
cloth.  Any  imperfections  in  the  finished  print  may  be  corrected  by 
spotting,  using  a  fine  sable  brush  and  Eastman  Spotting  Colors. 


124 


PRINTING 


Select  mounts  which  harmonize  with  the  tone  of  the  print.  If 
Sepia  prints  are  to  be  mounted,  any  shade  of  brown  or  some  of  the 
deeper  reds  may  be  used,  but  these  same  mounts  would  not  be  suitable 
for  black  and  white  tones.  For  the  black  and  white  prints  any  shade 
of  gray,  carbon  black,  buff  or  cream  color  may  be  successfully  used. 

The  process  of  making  prints  on  Velpx  Post  Cards  is 
Finishing  identically  the  same  as  that  for  making  Velox  Prints. 
Velox  The  cards  are  sensitized  on  one  side  only  and  the  reverse 

Post  Cards     side  is  printed  to  conform  with  the  U.  S.  Postal  regula- 
tions. 

Effective  and  artistic  work  may  be  done  on  Velox  Post 
Double  Cards  by  double  printing.  By  this  process  gray  borders 
Printing  and  ground  may  be  produced.  The  work  requires  careful 

and  exact  cutting  of  the  necessary  opaque  masks  and 
accurate  registry  of  the  cards  when  printing.  Provide  a  number  of 
pieces  of  clear  glass,  cut  to  size  5x7  (old  negatives  from  which  the 
emulsion  has  been  thoroughly  cleaned  by  soaking  in  a  solution  of  hot 
water  and  sal-soda  are  suitable),  also  a  few  sheets  of  opaque  paper  the 
same  size  (5x7).  From  one  of  these  sheets  make  a  mask  as  shown  in 
Fig.  1. 

Measure  from  edges  A  and  B  a  space  five-eighths  of  an  inch  wide, 
then  cut  an  opening  2x3  inches  through  which  your  negative  and 
cards  are  to  be  exposed.  Fasten  the  negative  with  strips  of  adhesive 
paper  to  one  of  the  pieces  of  clear  glass,  placing  that  portion  to  be 
printed  directly  in  under  the  opening  in  the  mask.  Adjust  glass, 
negative  and  mask  in  printing  frame,  lay  on  the  Velox  Post  Card, 
sensitized  side  down,  so  that  one  end  covers  the  opening  in  the  mask. 
Be  careful  to  have  the  edges  A  and  B  of  glass,  mask  and  card  fit  flush 
against  the  corresponding  sides  of  the  printing  frame.  Expose  to 
printing  light,  giving  correct  time  required  for  a  perfect  print,  remove 
the  entire  outfit  from  the  printing  frame  and  insert  glass  and  mask 
No.  2,  which  you  will  have  previously  prepared  as  shown  in  Fig.  2. 


No.  1 


No.  2 


Shaded  portion  represents  opaque 

paper.     White  portion  shows 

part  out  out. 


paper.    White  port: 
part  cut  out 


>n  represents  opaque 
lite  portion  shows 


PRINTING  125 

From  another  piece  of  opaque  paper  5x7,  cut  an 
To  prepare  opening  3x5  inches  and  measure  exact  so  as  to  leave 
mask  No.  2  margins  of  one-quarter  inch  on  the  sides  A  and  B.  Gum 

this  mask  securely  to  another  glass,  then  cut  a  piece  of 
opaque  paper  2^x3^  inches  and  gum  this  in  a  clear  space  at  a  dis- 
tance of  exactly  half  an  inch  from  edges  A  and  B.  Place  this  entire 
outfit  in  printing  frame,  lay  on  Velox  Post  Card,  previously  exposed 
under  No.  1  mask,  fit  edges  flush  into  corner  of  the  frame  and  expose. 
This  second  exposure  should  be  just  enough  to  produce  the  desired 
tint,  governing  time  by  degree  of  contrast  of  Velox  used.  If  the  ex- 
posure has  been  too  great  the  border  will  be  dark,  if  under-exposed, 
the  border  tint  will  be  light.  A  little  practice  may  be  necessary  in  order 
to  secure  the  tint  desired. 

Now,  if  you  have  made  all  measurements  accurately  and  exposure 
and  development  have  been  correct,  you  will  have  on  a  finished  post 
card  y«ur  picture  2x3  inches  in  size,  surrounded  by  a  narrow  white  mar- 
gin one-eighth  of  an  inch  wide  and  a  gray  border  one-quarter  of  an  inch 
wide  on  top  and  one  side,  and  one-half  inch  wide  at  bottom  and  one 
and  one-half  inch  on  other  side.  The  tint  of  this  border  should  be  a 
slate  gray  and  should  harmonize  with  the  black  tone  of  your  print. 

Other  forms,  such  as  ovals  and  circles,  may  be  made  and  the  process 
for  their  making  is  the  same  as  already  described. 

There  are  occasions  when  it  is  desirable  to  modify 
Sepia  Tones  the  tone  of  Velox  prints,  in  order  to  secure  some  effect 
on  Velox  more  in  keeping  with  the  subject  than  the  original  color 

produced  by  development  only.  The  Sepia  Tone  is 
permanent  and  may  be  secured  as  follows:  The  Velox  Re-develop- 
ment process  will  give  the  best  results  yielding  pleasing  and  permanent 
tones.  Prints  on  any  grade  or  surface  of  Velox  give  most  pleasing 
tones  when  re-developed,  but  re-development  is,  perhaps,  specially  ad- 
vantageous for  prints  on  Royal  Velox,  as  the  process  brings  out  and 
accentuates  the  full  value  of  the  soft,  creamy  stock  upon  which  Royal 
Velox  is  coated,  the  finished  prints  possessing  an  almost  indescribable 
softness  and  delicacy. 

Velox  prints  of  any  surface  which  have  been  evenly  and  thoroughly 
fixed  and  washed  will  give  desirable  results  with  the  Re-developer, 
but  some  subjects,  such  as  marines  and  snow  scenes,  are  best  rendered 
in  black  and  white.  Landscapes,  autumn  scenes  and  portraits  are 
given  greater  artistic  values  by  the  warmth  of  tone  which  the  Re- 
developer  produces. 

A  package  of  Velox  Re-developer  consists  of  bleaching  powders  and 
a  bottle  of  re-developing  solution.  Each  powder  contains  chemicals 
which  require  only  the  addition  of  a  certain  quantity  of  water  to  make  a 
bleaching  bath  for  the  reduction  of  the  print  before  re-development. 
The  liquid  contained  in  the  bottle  is  highly  concentrated  and  should  be 
used  carefully,  the  entire  contents  of  a  4-oz.  bottle  being  sufficient 
to  re-develop  about  four  hundred  3%  x  5J^  Velox  prints  or  post  cards 
or  their  equivalent.  It  is  important  that  the  prints  should  have  been 
thoroughly  washed  so  that  no  trace  of  hypo  remains.  In  order  to 


126  PRINTING 

obtain  the  best  results  it  would  be  advisable  to  have  the  prints  dry 
before  developing.  Prepare  the  bleaching  bath  and  re-developing  solu- 
tion according  to  the  instructions  given  on  the  package.  Place  the 
black  and  white  print  in  the  bleaching  solution,  let  it  remain  until 
all  trace  of  black  has  disappeared  from  the  shadows,  about  one  minute; 
it  should  then  be  removed  and  rinsed  thoroughly  in  fresh  water  and 
placed  in  the  re-developing  solution,  where  the  faint  image  immediately 
changes  to  a  warm,  brown  tone,  gradually  deepening  until  all  its  former 
brilliancy  returns,  but  in  a  sepia  tone  instead  of  black  and  white.  This 
requires  fully  thirty  seconds.  Too  strong  a  solution  of  Re-developer 
or  too  long  immersion  in  this  solution  will  cause  blisters.  After 
re-development  rinse  the  prints,  and  immerse  them  in  a  hardening  bath 
composed  of  Velox  Liquid  Hardener,  1  ounce;  water,  16  ounces — leave 
the  prints  in  this  solution  for  about  five  minutes.  A  final  washing  of 
about  fifteen  minutes  is  then  given  the  prints. 

Velox  Re-developer  will  also  produce  excellent  sepia  tones  on 
any  bromide  or  other  paper  that  is  intended  to  be  printed  by  artificial 
light,  the  age  of  the  print  does  not,  seemingly,  make  any  difference  in 
the  tones  obtainable.  The  best  results  are  obtainable  from  prints  which 
have  a  good  bluish-black  tone,  rather  than  a  green  or  olive  tone,  such 
as  is  produced  by  the  use  of  too  much  bromide.  Both  the  bleaching 
and  the  re-developing  baths  will  retain  their  strength  for  some  time 
if  kept  in  well  stoppered  bottles.  If  the  prints  show  a  tendency  to 
blister,  it  doubtless  comes  from  insufficient  hardening  of  the  black  and 
white  prints.  Remedy — use  a  fresh  and  absolutely  correct  acid  fixing 
bath  at  a  temperature  not  exceeding  65  degrees,  fixing  the  prints  at 
least  15  minutes,  then  wash  the  prints  thoroughly. 

A  careful  study  of  these  instructions  will  enable  you  to  produce 
satisfactory  results  on  any  surface  of  Velox  paper. 
Causes  of          By  consulting  the  following  causes  of  failure  you  will 
Non-success     probably  be  able  to  locate  any  trouble  you  may  have. 

PRINTS  ARE  Too  BLACK. 
Over-exposure. 
Over-development. 
Negative  too  weak  or  thin. 

Perhaps  the  wrong  degree  of  contrast  of  paper  was  used;  try 
Regular  Velox  or  Contrast. 

PRINTS  ARE  Too  LIGHT,  LACK  DETAIL. 

Under-exposure  or  under-development ;  try  Special  Velox. 
GRAYISH  WHITES  THROUGHOUT  ENTIRE  PRINT. 

Chemical  or  light  fog,  test  the  light  (see  page  114.) 

Insufficient  Potassium  Bromide  in  developer. 

Too  long  development. 

Old  paper. 

GRAYISH  MOTTLED  OR  GRANULATED  APPEARANCE  OF  EDGES  OR  ENTIRE 
PRINT. 

Under-exposure,  forced  development. 

Old  paper. 

Moisture,  paper  kept  in  damp  place. 

Chemical  fumes,  Ammonia,  Gas,  etc. 


PRINTING  127 

GREENISH  OR  BROWNISH  TONES,  SOMETIMES  MOTTLED 

Developer  exhausted,  badly  discolored,  or  too  cold. 

Excess  of  Potassium  Bromide. 

Over-exposure. 

BROWN  OR  RED  STAINS. 

Exhausted  or  oxidized  developer.     (Never  use  developer  after 

it  is  much  discolored  or  when  too  warm.) 
Fixing  bath  lacks  sufficient  acid  (sometimes  milky)  and  prints 

were   not   moved   occasionally  to  allow  even  fixing.     (See 

page  121.) 

PURPLE  DISCOLORATION  (Not  Frequent.) 

Prints  not  moved  occasionally  during  fixing. 
ROUND  WHITE  SPOTS. 

Air-bells  on  the  surface  of  paper. 

*  To  avoid,  be  sure  to  develop  prints  face  up,  immediately  brush- 
ing off  any  air-bells  that  may  form.  Use  sufficient  developer 
to  thoroughly  cover  the  prints. 

ROUND  OR  IRREGULAR  DARK  SPOTS. 

Caused  by  air-bells  forming  on  the  surface  of  print  when 
several  are  allowed  to  become  matted  together  in  fixing  bath, 
and  failing  to  move  prints  about  occasionally  during  fixing. 

WHITE  DEPOSITS  ALL  OVER  SURFACE  OP  PRINT. 

Milky  Hypo  bath.  (Incorrectly  mixed  or  impure  chemicals 
used.) 

BLISTERS. 

Prints  have  been  creased  or  broken  while  washing. 

Do  not  allow  water  from  the  tap  to  fall  directly  on  the  prints. 

Too  great  difference  between  temperature  of  solution  and 

wash-water. 

Fixing  bath  lacks  sufficient  hardener. 
Never  use  a  plain  Hypo  Fixing  bath;  always  acidify.       (See 

page  121.) 

BLISTERS  OCCURRING  DURING  RE-DEVELOPMENT. 
(See  page  126.) 

YELLOWISH  WHITES  WHEN  OTHER  THAN  VELOX  RE-DEVELOPER  HAS 

BEEN  USED. 

Stain  all  over  print  is  result  of  under-exposure  and  forcing  develop- 
ment. 

Prints  not  kept  moving  for  the  first  few  seconds  after  immersion 
in  the  hypo  fixing  bath. 

Too  weak  a  developer. 

Insufficient  fixing  and  washing. 

Iron  in  wash-water — may  come  from  rust  in  water  pipes. 


128 


PRINTING 


FREAKS. 

Picture  develops  irregularly  and  appears  to  be  covered  with  greasy 
streaks  and  finger  marks  and  gives  the  impression  that  there  are 
spots  on  the  paper  which  have  never  been  coated.  Of  all  com- 
plaints received  regarding  Velox  paper,  none  are  caused  by 
any  condition  more  annoying  than  this  "freak"  trouble.  It  is 
annoying  to  the  photographer  because  he  feels  sure  the  fault 
is  in  the  paper,  and  annoying  to  us  because  we  know  that  the 
fault  lies  in  incorrect  solutions.  The  illustration  below  gives 


F^*^  \^  ^MM^H 


Developed  in  Elon-Hydrochinon 

half  as  strong  as  that  advised 

in  instruction  sheet. 


Developed  in  Elon-Hydrochinon 

strength  as  advised  in 

instruction  sheet. 


some  idea  of  this  curious  effect.     It  is  in  warm  weather  when 
the  humidity  is  great  that  these  "freaks"  most  frequently  occur. 

Undoubtedly  the  paper  absorbs  moisture  unevenly  and  in  certain 

rts  becomes  repellant  to  the  action  of  an  incorrect  developer, 
making  up  a  developing  solution  it  is  absolutely  essential 
that  pure  chemicals  be  used,  and  as  Velox  requires  a  bath  that 
contains  about  one-third  more  Sodium  Carbonate  than  Sodium 
Sulphite,  it  is  easy  to  see  that  any  mistake  made  in  the  proportion 
of  either  chemical  would  be  apt  to  cause  trouble.  The  remedy 
for  "freaks"  is  to  throw  out  your  developer  and  mix  a  fresh 
solution,  and  if  necessary,  use  it  stronger. 

It  sometimes  happens  that  one  package  of  Velox  will  freak  in  a 
certain  developer  while  another  will  not.  This  is  not  proof 
that  the  paper  is  defective,  but  simply  shows  that  one  package 
has  been  kept  under  different  conditions  from  the  other  at 
some  time  since  it  left  our  factory,  and  because  of  this  is  more 
susceptible  to  the  action  of  an  incorrect  developer.  Both 
packages,  however,  will  give  good  results  if  the  solution  used 
is  absolutely  correct.  When  conditions  are  extremely  unfavorable 
it  may  be  advisable  to  use  a  more  concentrated  solution  or  less 


PRINTING  129 

water  and  a  slightly  increased  amount  of  Sodium  Carbonate 
than  specified  in  the  formula  regularly  recommended. 

The  temperature  of  the  developer  is  also  important.  A  solution 
that  is  too  cold  will  produce  failures  more  readily  than  when  it  is 
used  at  the  normal  degree. 

Sea  air  will  affect  Velox,  causing  yellow  whites,  so  packages  should 
not  be  left  open  and  prints  should  be  developed  immediately 
after  exposure. 

The  permanency  of  Velox  prints  has  never  been 
Permanency  questioned.  Permanency  of  any  Velox  print  depends 

upon  the  thoroughness  of  manipulation.  It  is  beyond 
question  that  with  correct  developer  freshly  prepared  and  with  thorough 
fixing  and  washing,  Velox  prints  will  be  absolutely  permanent.  Many 
dealers,  have  perfect  sample  prints  that  were  sent  to  them  years  ago  and 
have  exposed  them  continually  to'jevery  conceivable  atmospheric  condi- 
tion. That  they  are  still  being  used  as  samples  is  an  unanswerable 
argument  in  favor  of  Velox  permanency. 


130  PRINTING 

KODAK  VELVET  GREEN 

Kodak  Velvet  Green  is  a  developing-out  paper  and  like  Velox 
the  image  is  invisible  after  exposure  to  light,  until  a  developing  solution 
has  been  applied. 

The  natural  color  of  Kodak  Velvet  Green  is  a  rich,  true  green, 
secured  by  the  use  of  a  one-solution  developer. 

As  much  of  the  beauty  of  a  photographic  print  depends  upon  the 
color  or  tone  in  which  it  is  rendered,  a  paper  such  as  Kodak  Velvet 
Green  will  be  especially  appreciated  for  marine  and  landscape  subjects. 
Its  use  gives  pleasant  relief  from  the  cold  tones  of  the  ordinary  black 
and  white  print  and  affords  every  opportunity  for  the  production  of 
permanent  prints  of  delightful  tone  and  quality  by  a  very  easy  and 
simple  process. 

Kodak  Velvet  Green  is  made  in  one  surface  (semi-gloss)  and  one 
printing  speed,  and  two  weights  of  paper  stock,  single  and  double; 
also  on  post  cards.  Although  the  paper  is  sensitive  to  white  light 
and  should  be  properly  protected  when  handled,  exposure  of  prints 
should  be  made  to  daylight  rather  than  to  artificial  light. 

With  a  negative  of  average  density,  the  exposure  by  daylight 
(not  sunlight)  will  be  from  10  to  30  seconds;  a  full  development  is 
recommended  to  produce  the  full  brilliancy  of  color  and  quality. 

By  comparing  your  other  negatives  with  the  ones  you  have  tested, 
you  will  be  able  to  make  a  fairly  accurate  estimate  of  exposure  required 
by  any  negative. 

DEVELOPING  SOLUTION  FOR  KODAK  VELVET  GREEN 

Nepera  Solution 1  oz. 

Water 4  ozs. 

After  taking  the  exposed  piece  of  paper  from  the  printing  frame, 
in  a  safe  place  previously  selected,  it  is  ready  for  development.  The 
dry  print  should  be  immersed  face  up  in  the  developer  and  quickly 
and  evenly  covered  with  the  solution. 

If  the  time  of  exposure  and  the  temperature  of  the  solution  are 
correct,  the  print  should  fully  develop  in  45  seconds,  although  a  somewhat 
longer  immersion  may  be  necessary  and  not  harmful.  Full  development 
of  prints  on  Kodak  Velvet  Green  is  the  one  important  feature  in  con- 
nection with  their  manipulation,  for  on  this  depends  the  final  tone. 
In  case  of  over-exposure  and  under-development  prints  will  assume  a 
yellowish-green  color,  which  is  objectionable.  The  true  green  tone, 
the  feature  of  this  paper,  will  be  obtained  by  careful  attention  to 
exposure  and  development  of  prints. 

As  soon  as  the  image  has  reached  the  desired  depth  remove  from 
the  developer  to  tray  and  rinse  for  a  moment,  turning  the  print  several 
times,  then  place  it  in  the  acid  fixing  bath.  Kodak  Velvet  Green 
prints  may  be  fixed,  washed  and  mounted  similarly  to  Velox.  (See 


PRINTING 


131 


pages  113-129.)  The  fixing  solution  should  be  made  up,  one-half 
the  strength  of  that  used  for  Velox.  To  those  who  prefer  to  prepare 
their  own  solutions  we  advise  the  use  of  the  Elon-Hydrochinon  formula 
on  page  119. 

The  Kodak  The  Kodak  Amateur  Printer  offers  the  maximum  of 
Amateur  printing  efficiency  when  used  in  connection  with  Velox 
Printer  or  any  developing-out  paper. 

The  Printer  consists  of  a  box 
with  a  removable  top,  and  in  it  a 
glass  window  through  which  the 
printing  is  done.  Prints  may  be 
made  with  white  margins,  any  size 
from  1%  x  2]/2  to  4  x  5J^  inches,  by 
a  simple  automatic  masking  device, 
which  holds  the  negatives  firmly 
until  released.  Within  the  box  is  a 
small  red  electric  bulb  to  permit  the 
adjustment  of  negative  and  paper, 
and  provision  is  made  for  a  60-Watt 
Mazda  lamp,  which  is  automatically 
turned  on  when  the  hinged  frame  is  closed  to  make  the  exposure. 
At  the  side  of  the  box  is  a  window  covered  with  orange  fabric  which 
serves  as  a  dark-room  lamp  when  the  red  light  is  turned  on  and  provides, 
with  the  Mazda  lamp,  a  safe  light  for  Velox  developing. 

To    operate   the   Kodak    Amateur    Printer   it   is   necessary    that 
electricity  be  available. 


The     Auto-mask     is 

the      most    conven- 
i(jnt  and  ugeful  thi 

in     PrintinS     frames 
that    has    yet    been 

produced.  It  is  adaptable  to  the 
printing  of  negatives  of  any  amateur 
size  from  4x5,  3J^  x  5J^  and 
smaller,  using  the  same  simple 
masking  device  employed  on  the 
Kodak  Amateur  Printer.  The 
negative  is  held  firmly  in  place  by 
the  mask  and  is  readily  released, 
when  desired,  by  a  slight  pressure 
on  the  thumb  lever. 


Any  number  of  uniformly  masked  prints  may  be  made  without 
changing  the  position  of  the  negative,  and  if  desired,  prints  may  be 
so  made  that  white  space  is  left  at  the  side  or  bottom  for  writing  as, 
for  example,  with  post  cards.  The  graduated  scales  attached  to  the 
stationary  guides,  aid  in  sizing  and  holding  exact  dimensions  of  the 
mask  openings.  Can  be  used  with  oil,  gas,  electric  or  daylight. 


Antn         sk 
Auto-mask 

Frame" 


Clouds  in  the  Picture 

Before  attempting  to  add  clouds  to  your  landscapes  by 
The  the  printing-in  process,  it  would  be  well  to  obtain  a 

Printing-in  collection  of  cloud  negatives  in  order  that  you  may  be 
Method  able  to  select  one  that  will  fit  each  case,  for  it  must  be 

remembered  that  the  clouded  sky  needed  in  each  instance 
depends  almost  entirely  upon  the  conditions  existing  at  the  time  the 
landscape  negative  was  obtained.  For  instance,  should  you  picture  a 
landscape  when  the  sun  is  directly  back  of  the  camera  and  then  print  in 
from  a  negative,  the  clouds  of  which  have  received  their  illumination 
from  immediately  in  front  of  the  instrument,  you  can  readily  imagine 
the  result,  due  to  cross  lights  throughout  the  picture. 

Then  again,  if  the  landscape  is  illuminated  from  the  left,  see  that 
the  clouds  in  the  negative  used  are  illuminated  from  the  same  point. 
Do  not  combine  clouds  taken  on  a  sunless,  gloomy  day  with  a  landscape 
taken  when  illuminated  by  the  direct  rays  of  the  sun  or  vice  versa. 

Cloud  negatives  that  are  to  be  used  for  printing-in  should  be  thin. 
They  should,  however,  have  sufficient  strength  to  give  brilliancy  to  the 
print.  There  are  several  advantages  in  using  a  cloud  negative  which 
is  more  or  less  transparent,  as  you  can  see  through  it  and  better  judge 
as  to  its  adjustment  over  the  print  to  which  you  propose  to  add  the 
clouds. 

When  obtaining  negatives  for  printing-in,  it  is  neces- 
The  sary  to  make  very  short  exposures,  because  if  we  over- 

Negative  expose,  even  very  slightly,  we  destroy  the  delicate  con- 
trasts that  exist  between  the  high-lights  and  shadows 
and  thereby  flatten  the  negative.  For  instance,  if  we  make  an  exposure 
of  }io  of  a  second  with  stop  U.  S.  8  for  an  ordinary  landscape  fully 
illuminated  by  the  direct  rays  of  the  sun,  we  in  most  cases  properly  time 
the  foreground  but  over-time  the  sky,  destroying  its  beauty,  and  for 
that  reason,  when  exposing  for  the  sky  alone  }io  or  even  Koo  of  a  second 
with  stop  U.  S.  32  will,  in  most  cases,  give  perfect  detail. 

An  exposure  thus  obtained  should  be  carefully  developed,  too 
much  contrast  avoided  and  development  stopped  the  moment  that 
full  detail  appears.  You  will  then  have  a  negative  that  will  print 
rapidly  and  give  you  all  the  gradations  of  light  and  shade  that  were 
impressed  upon  the  eye  at  the  time  the  exposure  was  made.  It  would 
be  well  to  add  that  if  a  Kodak  Color  Filter  is  used,  it  will  improve  your 
negative  somewhat  but  will  increase  the  length  of  the  exposure  required. 

In  the  first  place,  it  is  necessary,  when  printing  the  fore- 
The  ground,  to  obtain  a  white  sky.  In  order  to  do  so  you  must 

Process  mask  that  portion  of  the  negative  in  order  that  the  light 

may  not  penetrate  the  film  and  affect  that  part  of  the 
print  underneath  it.  First,  take  a  sheet  of  thin  strawboard  and  roughly 
sketch  across  its  surface  (about  midway  between  the  top  and  bottom) 
a  mark  to  correspond  as  nearly  as  possible  with  the  sky  line  of  your 


PRINTING  CLOUDS  133 

negative;  then  cut  your  board  along  this  line.  Save  both  halves 
because  you  will  need  them  later.  Now  procure  a  printing  frame 
(containing  a  sheet  of  glass)  somewhat  larger  than  the  negative  you 
are  to  print  from,  and  after  locating  the  negative  in  the  proper  position, 
fasten  it  to  the  glass  with  small  stickers,  then  tack  the  upper  half  of 
the  cardboard  to  the  face  of  the  frame  so  that  only  that  portion  of  the 
negative  which  you  wish  to  print  from  will  show.  Cover  the  entire 
face  of  the  frame  with  tissue  paper  and  make  your  print. 

Now  place  your  cloud  negative  in  the  printing  frame  and  properly 
locate  the  print  over  it,  using  the  lower  half  of  the  cardboard  to  cover 
up  the  foreground  so  that  the  light  will  reach  the  sky  only.  It  should 
be  borne  in  mind  that  the  cardboard  (which  we  will  call  a  mask  or 
vignetter)  when  tacked  on  the  frame  should  be  raised  up  from  the 
glass  about  one-quarter  of  an  inch,  so  that  when  printing  the  light 
will  diffuse  and  not  produce  a  sharp  line  on  your  print.  When  using 
Velox,  as  the  image  does  not  show  before  development,  it  will  be  neces- 
sary to' mark  the  paper  at  the  edge  in  order  to  tell  just  where  the  sky 
line  comes;  otherwise  you  will  be  unable  to. properly  locate  your  cloud 
negative.  When  using  developing  papers  it  would  be  well  to  paste 
two  or  three  thicknesses  of  tissue  paper  over  your  frame. 


Easy  Methods  of  Making 
Enlargements 

MOST  amateurs  are  aware  that  beautiful  enlargements  of  almost 
any  size  can  be  made  from  Kodak  or  any  small  negatives,  but 
seem  to  think  that  the  process  of  enlarging  is  difficult  and  requires 
a  great  deal  of  apparatus  and  technical  skill.    As  a  matter  of  fact  the 
making  of  an  enlargement  is  very  simple  and  requires  only  a  moderate 
outlay  for  apparatus. 

In  the  following  pages  we  clearly  describe  the  characteristics  Land 
uses  of  Bromide  papers  and  demonstrate  how  enlargements  are  made 
with  simple  and  inexpensive  apparatus.  No  attempt  is  made  to  describe 
the  more  intricate  and  costly  apparatus  demanded  by  the  professional, 
but  we  confine  ourselves  to  the  demands  of  the  average  amateur. 

Offers  a  simple  means  for  making  bromide  enlarge- 
The  ments.  An  automatic  focusing  device  is  a  part  of  the 

Kodak  Enlarger  itself.    By  the  elimination  of  the  necessity  of 

Auto- Focus      focusing,  the  method  of  enlarging  is  reduced  to  an  easy 
Enlarger  printing  process,  almost  as  rapid  as  contact  printing. 

The  construction  of  the  Kodak  Auto-Focus  Enlarger  is  exceedingly 
simple.  After  the  Enlarger  is  set  up,  ready  for  use,  there  is  but  one 
adjustment  necessary,  it  is  to  merely  slide  the  camera  up  or  down  on 
the  standard;  this  makes  the  image  larger  or  smaller  as  desired.  The 
Enlarger  is  always  in  focus.  When  the  size  of  the  enlargement  desired 
is  obtained,  the  camera  is  then  automatically  in  the  exact  focus,  no 
further  adjustment  being  necessary. 

The  Kodak  Auto-Focus  Enlarger  equipment  includes  everything 
necessary  except  the  electric  lamp  for  making  enlargements  from  all 
negatives  4x6  inches  or  smaller.  A  lamp  of  the  proper  voltage 
(60  watt)  can  be  obtained  from  any  local  dealer  in  electrical  supplies. 

Most  amateurs  are  under  the  impression  that  the  process  of  making 
an  enlargement  is  intricate  and  requires  a  great  deal  of  apparatus  and 
technical  skill.  As  a  matter  of  fact,  the  making  of  an  enlargement  with 
the  Kodak  Auto-Focus  Enlarger  is  very  simple  and  easy. 

In  the  following  pages  we  clearly  describe  the  characteristics  and 
uses  of  Bromide  paper,  and  explain  how  to  use  the  Kodak  Auto-Focus 
Enlarger.  We  also  describe  the  method  of  using  the  Kodak  Enlarging 
Outfit  and  the  Brownie  and  Vest  Pocket  Kodak  Enlarging  Cameras. 

Bromide  paper  is  a  pure  photographic  paper  coated  with 
Bromide  a  sensitive  compound,  composed  principally  of  bromide 

Paper  of  silver  and  white  gelatine  and  similar  to  the  emulsion 

of  the  ordinary  film  or  dry  plate,  but  of  much  less 
rapidity,  permitting  manipulation  in  a  stronger  light  than  would  be 
safe  for  films  or  plates. 


ENLARGING 


135 


Bromide  of  silver  gives  a  pure  black  tone  after  it  is  exposed  to  light 
and  developed,  the  unexposed  portions  of  the  paper  coated  with  this 
emulsion  remaining  perfectly  white  except  with  Royal  Bromide  paper, 
which  is  coated  on  a  delicate  cream  stock. 

If  the  beginner  will  consider  the  sheet  of  Bromide  paper  as  practically 
the  same  as  a  slow  film  or  dry  plate,  and  that  a  positive  image  is  pro- 
duced by  printing  through  a  negative  on  to  the  sheet  of  Bromide  paper 
with  the  negative  and  sheet  of  paper  some  distance  apart  instead  of  in 
contact,  as  in  making  an  ordinary  print,  a  clearer  understanding  of 
the  process  will  be  obtained. 

Bromide  paper  has  remarkable  keeping  qualities,  and  the  devel- 
oped print,  when  carefully  fixed  and  washed,  is  as  permanent  as 
the  paper  support  itself. 


What  is  an     Anenlarge, 


NEGATIVE 


sense,  is  a  positive  image 
or  picture  obtained  by  per- 
mitting rays  of  light  to 
pass  through  a  negative, 
then  through  a  lens  and 
focused  on  a  sheet  of  sensi- 
tive Bromide  paper.  The 
size  of  the  projected  image 
depends  upon  the  distance 
between  lens  and  paper 
—  the  further  the  lens  is 
from  the  paper  the  greater 
the  enlargement,  which 
will  be  readily  understood 
by  reference  to  Fig.  1. 

An  enlarged  negative 
can  also  be  made  in  the 
same  manner  by  using  a 
small  positive  in  place  of 
the  negative,  and  project- 


BROMIDE   PAPER 
Fig.  1 


ing  the  image  on  a  cut  film  or  dry  plate,  instead  of  on  Bromide  paper. 

The  standard  and  camera  should  be  clamped  on  the 
edge  of  some  steady,  firm  support,  such  as  a  table  or 
shelf,  following  the  instructions  given  in  the  manual 
that  accompanies  the  Enlarger. 


Operating 
the  Kodak 
Auto- Focus 
Enlarger 


The  Enlarger  when  set  up,  will  be  in  position,  ready 
for  use,  as  shown  in  Fig.  2. 

Provide  a  60-watt  straight  side  Mazda  electric  light  bulb  (this  is 
not  furnished  with  the  Enlarger),  and  place  it  in  the  reflector  or  lamp- 
house  according  to  the  directions  in  the  manual,  then  screw  the  plug 
on  end  of  connecting  cord  into  electric  light  socket  and  turn  on  the 
current. 


136 


ENLARGING 


This  Enlarger  must  be  operated 
in  a  dark-room,  as  otherwise  the 
Bromide  paper  will  be  fogged.  By 
a  dark-room  is  meant  one  that  can 
be  made  entirely  dark — no  white 
light  must  enter  the  room.  Such  a 
room  can  easily  be  secured  at  night 
almost  anywhere.  The  most  con- 

,          __  venient  light  to  use  in  the  dark- 

a^t     N"  room  is  the  Brownie  or  the  Kodak 

Safelight  Lamp.    The  series  0  Safe- 

m    d  light  in  either  of  the  above  lamps 

will  produce  a  bright  orange  light 

n  which  is  suitable  and  perfectly  safe 

m  for  use  with  Bromide  paper. 

M  To  place  the  negative  from  which 

^^V^^BM|M^^^^^_         you  wish  to  make  the  enlargement 
mf&"J^f  m  Position,   remove    the    negative 

j^^B^^^^'^_^      ^w  holder  (located  between  the  back  of 

^S  •^•••••F  bellows  and  the  reflector  or  lamp- 

house),  then  remove  the  top  sheet 
of  glass  from  the  negative  holder 
and  place  the  negative  on  the  bottom 
sheet  of  glass,  face  or  dull  side  down. 
If  the  negative  from  which  the  en- 
largement is  to  be  made  is  smaller 
than  4x6  inches,  place  the  flexible 
metal  opaque  mask  of  the  proper  size  (six  sizes  are  included  with  the 
Enlarger)  over  the  negative,  and  adjust  the  negative  to  the  correct 
position  by  moving  it  to  the  right,  left,  up  or  down,  so  that  the  trans- 
parent margin  of  the  negative  will  not  appear  in  the  opening  of  the 
mask;  then  replace  the  top  sheet  of  glass,  fastening  it  in  place  by  means 
of  the  spring  fingers  at  each  side  of  the  negative  holder.  After  the  nega- 
tive is  in  proper  position,  replace  the  negative  holder  in  camera  with  the 
face  or  dull  side  of  the  negative  down,  or  towards  the  lens  of  the  camera. 

The  Kodak  Auto-Focus  Enlarger  will  make  enlargements  from  all 
of  the  popular  sizes  of  film  and  glass  negatives,  and  from  all  negatives 
that  are  not  larger  than  4x6  inches. 

When  enlarging  from  negatives  that  are  smaller  than  4x6  inches, 
it  will  be  necessary  to  use  an  opaque  mask,  so  as  to  cut  out  all  light  other 


Fig.  2 

This  illustration  shows  the  Kodak 
Auto-Focus  Enlarger  set  up  and  ready 
for  use,  including  the  two  steel  bars  in 
proper  position  for  holding  the  paper. 


larger, 

flexible  metal  opaque  masks.  These  are  made  for  use  with  negatives 
that  are  smaller  than  4x6  inches  and  include  all  of  the  most  popular 
sizes. 

The  negative  holder  in  this  Enlarger  is  so  constructed  that  an  en- 
largement can  be  made  from  a  negative  that  is  still  in  the  strip,  or  before 
the  strip  is  cut  apart,  separating  the  negatives.  There  is  a  slot  at  each 
end  of  the  negative  holder,  through  which  the  strip  of  film  can  be 
threaded. 


ENLARGING  137 

When  it  is  desired  to  make  an  enlargement  from  a  negative  that  is 
still  in  the  strip,  first  remove  the  top  sheet  of  glass  from  the  negative 
holder  and  place  the  metal  mask  of  the  correct  size  on  the  lower  glass, 
making  sure  that  the  mask  is  placed  in  position  with  the  beveled  ends 
up.  This  permits  the  easy  threading  of  the  strip  of  film  into  the  negative 
holder.  Now  replace  the  top  sheet  of  glass  but  do  not  secure  it  with  the 
spring  fingers  at  the  sides  of  the  holder,  as  if  these  should  be  used  there 
would  be  too  much  tension  preventing  the  easy  movement  of  the  strip 
of  film.  The  film  "should  now  be  threaded  into  the  slot  in  the  holder, 
with  the  face  or  dull  side  of  the  negative  down,  until  the  end  of  film 
projects  about  an  inch  through  the  slot  in  the  opposite  end  of  holder; 
then  fasten  the  top  glass  by  means  of  the  spring  fingers  and  replace  the 
negative  holder  in  the  Enlarger.  Draw  the  strip  of  film  through  the 
negative  holder  until  the  negative  desired  is  in  position,  and  then  pro- 
ceed with  the  making  of  the  enlargement  in  the  same  manner  as  when 
using  negatives  that  have  been  separated. 

When  using  glass  negatives  smaller  than  4x6  inches  it  is  then 
necessary  to  use  only  the  lower  -sheet  of  glass  in  the  negative  holder. 
Remove  the  top  sheet  of  glass,  place  the  metal  mask  of  the  proper  size 
on  the  lower  glass,  then  put  the  glass  negative,  face  or  dull  side  down, 
over  the  opening  in  the  mask,  and  secure  it  with  the  spring  fingers  on 
the  sides  of  the  negative  holder;  then  replace  the  holder  in  the  Enlarger 
with  the  face  or  dull  side  of  the  negative  down  or  towards  the  lens. 

The  Kodak  Auto-Focus  Enlarger  is  always  in  focus.  The  automatic 
focusing  device  slides  on  a  vertical  cam,  which  constantly  changes  the 
focus  with  the  result  that  the  image  is  always  perfectly  sharp,  regardless 
of  its  size.  This  eliminates  the  necessity  of  focusing. 

The  Enlarger  will  make  prints  from  I%to3}<4  times  the  dimensions 
of  the  negative  used,  or,  in  other  words,  from  2%  to  12^  times  its  area. 
The  largest  print  that  can  be  made  with  the  Enlarger  is  14  x  21"  from  a 
4  x  6"  negative;  and  the  largest  print  that  can  be  made  from  a  Vest 
Pocket  Kodak  size  negative  (1%  x  2%")  is  approximately  5%x8%". 

When  the  Enlarger  is  being  adjusted  to  obtain  the  desired  size  of 
print,  the  light  should  be  turned  on.  This  is  done  by  pushing  over  the 
switch  until  it  catches.  The  switch  is  located  on  the  socket  which  is 
attached  to  the  reflector  or  lamp-house. 

The  size  of  the  enlargement  is  determined  by  the  distance  the  lens 
is  from  the  paper  on  top  of  the  table  or  shelf;  the  greater  this  distance 
the  larger  the  picture.  When  the  light  is  turned  on  and  the  exposure 
lever  turned  down  (this  removes  the  orange  colored  safelight  lens-shield 
or  cap  from  back  of  the  lens)  the  image  will  be  clearly  visible  on  the  top 
of  the  table  or  shelf.  To  make  the  image  more  distinct  place  a  piece 
of  plain  white  paper  about  11  x  14"  in  position  under  the  lens  of  the 
Enlarger,  but  make  sure  that  the  paper  is  removed  before  placing  the 
sensitive  Bromide  paper  in  position. 

The  correct  size  of  the  enlargement  is  obtained  by  adjusting  the 
camera,  sliding  it  up  or  down;  this  makes  the  image  larger  or  smaller  as 
desired.  To  adjust  the  Enlarger  for  different  sizes,  first  loosen  the 


138 


ENLARGING 


wing  nut  on  the  back  of  the  standard  by  turning  it  to  the  left,  then 
grasp  the  frame  which  contains  the  negative  holder,  and  move  the 
frame  up  or  down  on  the  standard.  When  the  image  as  projected  on  the 
table  is  of  the  desired  size,  then  tighten  the  wing  nut  by  turning  it  to 
the  right. 

CAUTION:  Do  not  attempt  to  move  the  camera  up  or  down  by 
grasping  the  lens  board. 

By  using  the  scale  on  the  upright  standard,  enlargements  from  1  %  to 
3^  times  the  exact  dimensions  of  the  negative  can  be  made.  Slide  the 
camera  up  or  down  until  the  movable  indicator  line  is  in  a  position  that 
exactly  coincides  with  the  line  underneath  the  figure  desired,  giving 
the  number  of  times  of  enlargement.  Enlargements  can  of  course  be 
made  with  the  movable  indicator  line  in  a  position  between  the  lines  as 
given  on  the  scale.  When  the  scale  is  used,  the  image  will  be  the  exact 
number  of  times  enlarged,  as  given  by  the  figures  on  the  scale. 

The  method  of  adjust- 
ing the  Enlarger  to  obtain 
the  desired  size  of  the 
enlargement  is  shown  in 
Fig.  3. 

After  the  desired  size 
of  enlargement  has  been 
obtained,  and  the  wing 
nut  on  the  standard  se- 
curely fastened,  then  turn 
the  exposure  lever  to  the 
horizontal  position.  This 
brings  the  orange  colored 
lens-shield  or  cap  in  posi- 
tion over  the  back  of  lens, 
and  gives  a  safe  orange 
light  which  is  bright 
enough  to  allow  the  prop- 
er location  of  the  Bromide 
paper,  and  still  will  not 
fog  the  sensitive  paper. 

To  place  the  Bromide 
paper  in  position,  first 
take  one  of  the  steel  bars 
(two  are  included  with  the 
Enlarger)  and  place  it  on 
the  table  near  the  stand- 
ard of  the  Enlarger,  and  along  one  side  of  the  projected  image.  The 
steel  bars  are  covered  on  the  bottom  with  felt,  to  prevent  scratching  the 
table.  It  will  be  noted  that  the  felt  does  not  extend  to  the  edge  on  one 
side  of  one  of  the  bars.  Place  that  steel  bar  on  the  table  near  the  stand- 
ard of  the  Enlarger,  so  that  the  edge  not  covered  with  felt  will  come  next 
to  the  Bromide  paper.  After  this  first  steel  bar  has  been  placed  in  the 


Fig.  3. 

Method  of  adjusting  the  Kodak  Auto-Focus  Enlarger 
to  obtain  the  desired  size  of  enlargement. 


ENLARGING  139 

proper  position  then  slide  the  edge  of  the  Bromide  paper  (coated  or 
emulsion  side  up)  underneath  the  edge  of  the  bar  (that  part  not  covered 
with  felt)  and  place  the  other  bar  (which  is  covered  to  both  edges  with 
felt)  on  the  opposite  edge  of  the  Bromide  paper.  The  coated  or 
emulsion  side  of  the  paper  must  be  up;  the  coated  side  is  slightly  concave. 
If  more  than  one  print  of  the  same  size  is  to  be  made  from  the  same 
negative,  then  leave  the  steel  bar  nearest  to  the  standard  in  position, 
and  after  the  first  exposure  has  been  made,  lift  up  the  other  bar,  draw 
out  the  paper,  then  insert  the  fresh  sheet  of  paper  under  the  edge  of 
the  first  bar,  replace  the  second  bar  as  before,  and  all  is  ready  for  making 
the  next  exposure.  By  this  method  all  succeeding  exposures  will  be  in 
the  same  position  on  the  paper  as  the  first  print  made. 

To  make  the  exposure,  turn  on  the  light,  then  turn  down 
Making  the  exposure  lever  for  the  length  of  time  necessary,  as 
the  shown  in  Fig.  4.  By  turning  the  lever  the  orange  colored 

Exposure  lens-shield  or  cap  is  removed  from  the  back  of  the  lens. 

After  the  proper  exposure  has  been  made  (refer  to  rule 
for  making  Test  Exposures)  it  should  be  terminated  by  turning  off  the 
light.  This  is  done  by  pushing  over  the  switch  on  the  socket  fastened  to 
the  reflector  or  lamp-house.  This  method  insures  the  light  being  turned 
off  after  each  exposure. 

Important:  After  each  ex- 
posure, turn  off  the  light.  If  it  is 
not  turned  off  the  heat  from  the 
lamp  might  buckle  and  ruin  the 
negative.  It  is,  therefore,  ad- 
visable to  turn  off  the  light  after 
each  exposure 

Use  the  light  only  to  deter- 
mine the  correct  size  of  the  en- 
largement and  to  make  the  expo- 
sure. 


Test  Exposures 

It  would  be  a  good  plan  when 
first  attempting  the  making  of 
enlargements,  to  make  one  or 
more  test  strips  to  determine  the 
proper  duration  of  the  exposure. 

A  strip  one  or  two  inches 
wide  and  long  enough  to  extend 
diagonally  across  the  important 
part  of  the  image,  will  be  Fig.  4. 

sufficient.  Method  of  making  an  exposure  with  the 

Kodak   Auto-Focus   Enlarger.     Turning 

Correct  exposure  depends  on  down  the  exP°sure  lever- 

several  factors;   the  intensity  of 
the  light,  density  of  the  negative,  and  size  of  the  enlargement. 


140  ENLARGING 

The  first  test  exposure  will  be  purely  arbitrary;  if  using  a  60-watt 
light  and  the  negative  is  of  average  density,  and  an  enlargement  of 
three  times  the  dimensions  of  the  negative  is  desired,  it  is  suggested 
that  a  test  strip  be  made  as  follows:  Cover  up  two-thirds  of  the  strip 
with  a  piece  of  cardboard  and  expose  for  three  minutes;  move  the  card- 
board and  give  the  middle  section  two  minutes,  making  five  minutes 
for  the  first;  then  remove  the  cardboard  entirely  and  expose  the  re- 
mainder of  the  strip  one  minute.  The  fully  exposed  strip  will  now  con- 
tain three  different  exposures — the  first  section  six  minutes,  the  middle 
section  three  minutes,  and  the  last  section  one  minute. 

While  the  exact  time  for  the  development  of  a  correctly  exposed 
Bromide  enlargement  cannot  be  given,  the  proper  exposure  may  be 
readily  determined  by  appearance,  as  the  image  will  appear  gradually, 
developing  brilliantly  and  attaining  full  strength  in  about  one  and  one- 
quarter  minutes.  Develop  this  test  strip  (see  pages  142  and  143  for 
directions) .  If  these  test  exposures  are  all  very  much  over-  or  under- 
exposed, make  another  set  of  test  exposures,  being  guided  as  to  the  time 
of  exposures  by  the  first  strip.  If  the  image  comes  up  rapidly  but  dull, 
and  full  of  detail  in  the  highlights,  it  has  been  over-exposed;  if  weak, 
and  without  detail,  it  is  under-timed.  Under  different  conditions  the 
time  required  for  exposures  varies  from  about  thirty  seconds  to  about 
ten  or  fifteen  minutes,  according  to  the  light  used,  density  of  the 
negative,  size  of  the  enlargement,  etc.  However,  a  few  trials  will 
narrow  the  exercise  of  judgment  down  to  the  density  of  the  negative, 
and  the  making  of  correct  exposures  becomes  a  simple  matter.  The 
best  negative  for  enlarging  is  one  not  too  dense  or  too  weak,  but  one 
that  is  translucent  in  the  highlights  and  has  good  detail  in  the  shadows. 

When  making  enlargements  of  different  sizes  it  must  be  remembered 
that  light  intensity  decreases  as  the  camera  is  raised  or  moved  further 
away  from  the  paper,  and  it  will  therefore  require  a  longer  exposure  to 
make  large  sized  enlargements,  than  is  necessary  when  making  small 
enlargements. 

Do  not  attempt  to  count  the  time;  use  a  watch  or  clock. 

No  printing  process  affords  so  many  opportunities  for  modifying  in 
the  print  the  characteristics  of  the  original  negative  as  Bromide  enlarging. 

During  the  time  of  exposure,  the  amateur  can  shade  a  little  here, 
give  a  little  longer  exposure  there,  and  obtain  just  the  result  desired, 
bringing  out  detail  in  the  shadows  or  softening  a  highlight  at  will. 

In  shading  any  portion  during  the  exposure,  hold  the  shade  about 
midway  between  the  lens  and  the  paper  to  avoid  sharp  lines,  and  to 
obtain  the  proper  diffusion. 

When  making  enlargements  from  negatives  of  varying 
Local  quality,  very  often  the  enlargement  can  be  improved  by 

Control  controlling  the  exposure,  allowing  more  or  less  time  on 

different  portions  of  the  print. 

Practically  all  negatives,  excepting  those  that  were  badly  under- 
exposed, contain  much  delicate  detail  that  is  scarcely  noticeable  in  a 
small  contact  print,  but  is  clearly  seen  in  an  enlargement. 


ENLARGING 


141 


The  absence  of  detail  in  small  areas  of  the  light  or  dark  tones  of  a 
small  picture  is  not  displeasing,  but  in  the  case  of  an  enlargement,  these 

being    larger,    are 


Fig.  5. 
Showing  one  method  of  local  control. 


much  more  conspicuous 
and  would  be  improved  if 
more  detail  could  be  ob- 
tained. If  the  negative 
shows  detail  in  these  areas 
we  can  record  this  detail  in 
the  enlargement,  and  what 
is  of  even  greater  impor- 
tance, we  can  also  increase 
or  decrease  the  contrast 
between  the  various  tones 
of  the  picture  as  much  or 
as  little  as  we  wish,  by 
locally  controlling  the  ex- 
posure when  making  the 
enlargement.  One  method 
of  doing  this  is  illustrated 
in  Fig.  5. 

The  lines  leading  from 
the  lens  to  the  paper 
suggest  the  size  of  the 
enlargement  being  made, 
and  the  small  dark  patch 
on  the  projected  image 
represents  an  area  that 
would  appear  too  dark,  or 


without  detail  in  the  enlargement  if  the  light  was  allowed  to  act  on  it  as 
long  as  on  the  other  parts  of  the  picture. 

The  method  of  locally  controlling  the  exposure  is  to  allow  the  light 
to  act  on  the  whole  picture  as  long  as  it  is  necessary  for  fully  printing  the 
dark  tones.  Then  as  soon  as  the  dark  tones  have  been  fully  printed, 
hold  a  piece  of  cardboard  in  such  a  position  between  the  lens  and  the 
paper  as  to  prevent  the  light  from  reaching  and  consequently  over- 
printing the  part  of  the  picture  that  has  been  fully  printed,  without 
preventing  it  from  reaching  the  parts  that  are  not  yet  fully  printed.  The 
size  of  the  cardboard  must  be  determined  by  the  size  of  the  area  to 
be  shaded,  and  by  the  distance  the  cardboard  is  held  from  the  lens — the 
nearer  it  is  to  the  lens  the  larger  the  shadow  it  will  cast  and  the  more 
diffused  the  edges  of  the  shading  will  be  in  the  finished  picture.  By 
holding  it  about  midway  between  the  lens  and  the  paper,  and  by 
keeping  it  constantly  moving  when  the  shading  is  being  done,  no  evident 
lines  due  to  the  shading  will  show  in  the  picture. 

The  cardboard  should  be  attached  with  gummed  paper  strips,  or 
with  any  other  suitable  medium,  to  a  handle  consisting  of  a  strip  of  clean 
glass  about  half  an  inch  wide,  and  fully  as  long  as  half  the  length  of  the 
paper  used.  As  the  light  will  pass  through  this  glass  the  handle  will  have 
no  appreciable  effect  on  the  shading  of  the  picture. 


142  ENLARGING 

For  printing  detail  in  light  tones  a  sheet  of  cardboard  that  will  shade 
the  entire  paper  should  be  used.  A  small  hole  must  be  cut  in  the  card- 
board through  which  the  light  passes  during  the  shading.  The  area 
and  shape  of  the  hole  can  be  changed  by  placing  the  fingers  over  part 
of  it. 

While  somewhat  difficult  to  describe,  this  is  really  an  exceedingly 
easy  process,  and  with  a  little  practice,  the  amateur  should  be  able  to 
obtain  the  results  desired — results  that  cannot  be  excelled  by  any  other 
method  known. 

If  a  diffusion  or  softening  of  the  lines  in  the  picture  is  desired,  this 
effect  can  be  readily  obtained  with  the  Kodak  Auto-Focus  Enlarger  by 
using  a  Diffusing  Disc.  This  is  made  of  a  specially  prepared  glass 
mounted  in  a  round  cell,  and  when  it  is  to  be  used  should  be  slipped  over 
the  lens  of  the  Enlarger. 

The  Diffusing  Disc  does  not  change  the  focus,  nor  does  it  increase 
the  length  of  exposure,  it  merely  softens  the  lines  of  the  image.  If  only 
a  slight  diffusion  is  desired,  leave  the  Diffusing  Disc  in  position  on  the 
lens  for  about  one-fourth  or  one-half  of  the  length  of  time  necessary 
for  a  correct  exposure,  then  remove  the  Disc  and  finish  the  exposure. 

Where  the  negative  is  very  sharp,  especially  in  the  case  of  landscapes, 
also  negatives  made  with  the  Kodak  Portrait  Attachment  of  large  head 
and  shoulder  portraits,  the  soft  effect  produced  by  the  Diffusing  Disc 
will  be  found  pleasing  and  the  result  very  artistic. 

After  the  exposure  has  been  made  the  next  step  is 
Development  development,  which  is  accomplished  in  practically  the 
of  Bromide  same  manner  as  in  the  development  of  a  film  or  plate 
Paper  by  the  tray  or  dark-room  method. 

Provide  a  ruby  or  orange  lamp,  (the  Brownie  or  the 
Kodak  Safelight  Lamp,  with  Series  0  Safelight,  referred  to  on  page  136, 
will  be  found  most  convenient),  graduate,  stirring  rod  and  three  trays, 
preferably  of  enamel,  hard  rubber  or  rubber-lined,  and  at  least  an  inch 
larger  each  way  than  the  sheets  of  Bromide  paper,  to  facilitate  handling. 

A  rubber-lined  tray  of  any  size  is  easily  constructed  by  gluing  a  sheet 
of  gossamer  rubber  cloth  into  a  wooden  box  or  tray. 

As  the  Bromide  paper  is  not  as  sensitive  to  light  as  a  film  or  dry 
plate,  a  somewhat  stronger  light  may  be  employed  for  developing. 
The  Series  0  Safelight,  in  the  Brownie  or  the  Kodak  Safelight  Lamp 
produces  a  bright  orange  light  suitable  for  use  with  Bromide  paper, 
and  is  perfectly  safe  and  will  not  fog  the  sensitive  paper.  A  small 
window,  opening  outside,  covered  with  two  thicknesses  of  yellow 
postoffice  paper,  will  also  serve,  or  the  ruby  glass  may  be  removed 
from  an  ordinary  dark-room  lamp.  The  remaining  orange  glass  will  be 
ample  protection  against  fog  and  allow  the  process  of  development 
to  be  observed  with  greater  ease. 

Use  developer  at  a  temperature  of  about  70°  Fahr.  The  proper  tem- 
perature is  important  as  if  the  developer  exceeds  70°  Fahr.  the  prints 


ENLARGING  143 

are  liable  to  fog  and  the  emulsion  soften.  If  too  cold,  chemical  action  is 
retarded,  resulting  in  flat,  weak  prints.  With  Nepera  Solution  prepared 
in  the  proportion  of  one  ounce  of  developer  to  six  ounces  of  water  at 
70°  temperature,  the  image  should  appear  in  from  12  to  15  seconds. 
The  print  should  be  developed  for  at  least  1  minute  to  1%  minutes. 
If  the  print  develops  in  less  than  1  minute  under  the  above  conditions, 
the  exposure  has  been  too  long.  If  the  print  is  not  fully  developed  in  1 % 
minutes  under  the  above  conditions,  the  exposure  has  been  too  short. 

After  development  is  complete  the  print  should  be  rinsed  in  clean 
water  for  a  few  seconds  and  then  immersed  in  the  fixing  bath.  Do 
not  attempt  to  develop  too  many  prints  in  one  portion  of  developer 
(see  paragraph  in  the  middle  of  this  page). 

There  are  a  number  of  developers  that  will  produce  good  results  on 
Bromide  papers,  when  handled  by  experienced  persons  who  understand 
their  uses.  The  professional  photographer  enlarges  from  a  uniform 
quality  of  negative  and  for  a  certain  effect.  The  amateur,  on  the  other 
hand,  finds  his  negatives  varying  in  density  and  quality,  and  the  best 
developer  for  him  to  use  is  the  one  affording  the  greatest  latitude  in 
exposure  and  development,  and  one  that  keeps  well  in  solution. 

Without  question  Nepera  Solution  is  the  best  developer  for  this 
purpose.  Nepera  Solution  is  known  as  the  universal  developer,  as  it 
may  also  be  used  for  films,  plates  and  Velox  paper. 

For  use  with  Bromide  paper,  use: 

Nepera  Solution 2  ounces 

Water 12  ounces 

This  amount  is  sufficient  to  develop  about  twelve  7x11  prints  or  their 
equivalent,  after  which  a  fresh  solution  should  be  prepared.  When 
Nepera  Solution  is  not  obtainable,  the  formula  given  on  page  119 
should  be  used  in  the  following  proportion: 

To  Develop 

Dilute  as  follows: 

Stock  Solution 3  ounces 

Water 12  ounces 

This  amount  is  sufficient  to  develop  about  eight  7x11  prints  or  their 
equivalent. 

Thorough  fixing  of  Bromide  papers  is  of  the  utmost  import- 
Fixing  ance  to  insure  permanency  of  the  prints,  and  they  must  be 

fixed  in  a  fresh,  acid  fixing  bath.  The  preparation  of  the 
fixing  bath  requires  the  same  care  and  accuracy  as  is  given  to  the  pre- 
paration of  the  developing  solution.  A  fixing  bath  should  be  prepared 
using  Kodak  Acid  Fixing  Powder,  or  use  the  following  formula. 
If  made  according  to  directions  it  will  fix  prints  quickly  and  thoroughly 
in  about  fifteen  minutes,  and  will  prevent  blisters  which  sometimes 
appear  on  Bromide  prints. 


144 


ENLARGING 


The  Kodak  Acid  Fixing  Powder  is  supplied  in  packages  of  different 
sizes  which  contain  all  the  chemicals  necessary  to  prepare  a  correct 
acid  fixing  bath.  Directions  for  preparing  are  given  on  each  package. 


64  ozs. 
16  ozs. 


Fixing  Bath  Formula 

Water 

Hypo  (crystal  or  granulated) 

When  thoroughly  dissolved,  add  4  ozs.  Velox  Liquid  Hardener  or 
the  following  hardening  solution,  dissolving  the  chemicals  separately 
and  in  the  order  named  : 

Water  ........................................  5  ozs. 

Sodium  Sulphite  (E.  K.  Co.)  ...................  1  oz. 

Acetic  Acid  (containing  28  per  cent,  pure  acid)  ....  3  ozs. 

Powdered  Alum  ...............................  1  oz. 

If  Sodium  Sulphite  in  crystal  form  is  substituted  for  powdered, 
double  the  quantity  mentioned  should  be  used. 

When  Hypo  is  first  dissolved  in  water  the  temperature  of  the  solution 
is  materially  reduced.  It  is  important  that  the  temperature  of  a  fixing 
bath  should  never  exceed  65  degrees  Fahr.  The  prints  should  be  moved 
about  for  the  first  three  or  four  seconds  after  immersion  to  stop  the  action 
of  the  developer  at  once  over  the  entire  surface  of  the  print.  They  should 
remain  in  the  fixing  bath  for  at  least  fifteen  minutes  and  during  this 
time  should  be  moved  one  over  the  other  occasionally  to  insure  even 
fixing  and  to  avoid  staining. 

After  all  prints  have  remained  in  the  fixing  bath  for  a  few  minutes, 
the  orange  shade  may  be  removed  from  the  light  and  the  balance  of  the 
operation  continued  by  ordinary  light.  Before  permitting  white  light 
to  enter,  be  sure  that  any  unexposed  or  undeveloped  sheets  of  the 
Bromide  paper  have  been  carefully  protected  from  the  light. 


Print  showing  exact  size  of  negative  image  enlarged  on  following  page. 


ENLARGING 


145 


146  ENLARGING 

After  the  prints  are  thoroughly  fixed,  they  should  be 
Washing  thoroughly  washed.  Allowing  them  to  remain  an  hour 

in  running  water  or  by  giving  twelve  changes  of  water, 
transferring  prints  separately  each  time  from  one  tray  to  another, 
and  allowing  about  five  minutes'  rest  between  each  change  will  accom- 
plish this.  Washing  should  not  require  a  longer  time  than  is  necessary 
to  completely  free  the  Hypo  from  the  prints.  The  temperature  of  the 
water  in  winter  should  be  kept  as  uniform  as  possible,  as  ice  cold  water 
may  cause  blistering.  When  running  water  is  used  for  washing,  the 
stream  should  not  be  allowed  to  fall  directly  on  the  prints,  as  it  will 
cause  breaks  in  the  fiber  of  the  paper,  producing  blisters.  Place  a 
tumbler  or  graduate  in  the  washing  tray  and  allow  the  water  to  run  into 
it  and  overflow  into  the  tray.  Prints  should  be  moved  about  frequently, 
one  over  another,  during  the  time  of  washing,  when  running  water  is 
used. 

A  method  of  determining  when  the  prints  are  thoroughly  free  from 
Hypo,  is  given  on  page  122. 

After  the  prints  have  been  thoroughly  washed,  they  may  be 
Drying  dried  by  suspending  them  by  means  of  pins  from  the  edge 

of  a  table  or  shelf,  or  they  may  be  laid  out  face  down  on 
clean  cloth  or  face  up  on  blotters. 

Do  not  use  the  ordinary  commercial  blotter  as  it  usually  contains 
a  large  percentage  of  Hypo  and  other  injurious  chemicals. 

Avoid  also  the  use  of  colored  blotters  and  those  containing  printed 
matter,  as  the  coloring  and  printer's  ink  are  apt  to  impress  themselves 
on  the  print. 

Mounting 

A  very  satisfactory  way  for  mounting  small  enlargements,  not 
larger  than  6J^  x  8^,  is  by  the  use  of  Kodak  Dry  Mounting  Tissue, 
as  by  using  the  tissue  the  print  is  perfectly  flat  in  absolute  contact 
and  does  not  curl  even  on  thin  mounts.  Prints  larger  than  6j^  x  8% 
are  best  mounted  wet  with  a  good  starch  paste,  as  a  Kodak  Dry  Mount- 
ing Press  would  be  necessary  with  the  tissue  in  the  large  sizes.  Full 
instructions  for  mounting  are  given  on  page  123. 

,,         ,.  Dry  prints  that  have  a  tendency  to    curl   may   be 

ft  f  .     made  flat  by  the  scraping  action  of  a  sharp-edged  ruler 

Unmounted     appiied  to  the  back>  the  corner  behind  the  ruler  being 

lifted  as  the  ruler  is  passed  along. 

Hints 

Mealy  Mottled  Prints — Indicate  over-exposure  and  short  develop- 
ment. 

Greenish  Tones — Over-exposure,  under-development  or  too  much 
bromide. 

Face  of  Eastman  Bromide  Paper  can  always  be  distinguished 
by  its  curling  in;  the  convex  side  is  always  the  back. 


ENLARGING  147 

Running  Water  is  not  so  sure  a  means  for  washing  prints  as  chang- 
ing them  from  one  tray  to  another,  allowing  them  to  remain  at  least 
five  minutes  in  each  change  of  fresh  water;  twelve  changes  are  sufficient; 
no  less. 

What  Paper  to  Use 

Eastman  Bromide  Papers,  since  their  introduction  over  thirty-five 
years  ago,  have  been  considered  standard  by  the  photographic  public, 
and  testimony  as  to  their  superiority  is  constantly  being  received. 

The  list  and  description  of  the  various  kinds  of  Eastman  Bromide 
Papers  and  statement  of  use  to  which  each  is  best  adapted  is  as  follows : 

Velvet  Bromide  Paper — Suited  to  negatives  having  broad  shadows, 
the  slight  sheen  of  the  semi-gloss  surface  giving  to  enlargements  from 
such  negatives  a  life  and  brilliancy  which  is  highly  pleasing.  Velvet 
Bromide  is  especially  appreciated  by  those  who  enlarge  from  amateur 
and  from  landscape  negatives.  " 

Brilliant  Velvet  Bromide  Paper — Similar  surface  as  the  Velvet 
Bromide,  but  gives  more  contrast  between  the  high-lights  and  shadows 
and  should  be  used  when  enlarging  from  weak  or  flat  negatives,  or  from 
negatives  that  lack  sufficient  contrast  to  make  good  prints  on  Velvet 
Bromide. 

Standard  Bromide  Paper — Is  a  natural  surface  Bromide  paper, 
which  is  especially  adapted  to  all  kinds  of  enlargements,  particularly 
copies  on  which  crayon  or  pastel  work  is  to  be  done. 

The  emulsion  is  coated  on  two  different  surfaces  of  paper — B,  heavy 
smooth — C,  heavy  rough. 

B,  heavy  smooth,  is  for  all  sizes  of  enlargements,  also  for  those  which 
are  to  be  spotted  or  finished  in  water  colors,  India  ink  or  oil. 

C,  heavy  rough,  is  best  adapted  for  rough  work,  which  is  to  be  fin- 
ished in  crayon  or  pastel;   it  can  also  be  finished  in  India  ink,  oil  or 
water  colors. 

BB,  double  weight,  same  surface  as  B,  and  CC,  double  weight,  same 
surface  as  C,  need  no  further  description.  Their  use  for  unmounted 
prints  and  large  work  is  constantly  increasing. 

Matte-Enamel  Bromide  Paper — Produces  rich  carbon  blacks  and 
has  a  smooth  velvety  Matte  surface  tinted  just  enough  to  lend  warmth 
to  the  high-lights  and  half-tones. 

Enameled  Bromide  Paper — A  glossy  Bromide  paper  that  gives 
enlargements  closely  resembling  glossy  contact  prints.  When  squeegeed 
to  a  ferrotype  plate  a  high  gloss  is  produced.  It  is  furnished  in  medium 
weight  paper  only. 

Royal  Bromide  Paper — Sepia-toned  enlargements  made  on  Royal 
Bromide  paper  have  the  breadth  and  softness  of  fine  old  etchings. 


148  ENLARGING 

Negatives  having  dark,  sketchy  backgrounds,  deep  shadows  and 
snappy  high-lights  will  combine  to  produce  an  effect  with  Royal  Bro- 
mide not  obtained  with  any  other  Bromide  paper. 

Royal  Bromide  is  coated  on  paper  having  a  delicate  cream  tint,  the 
yellowish  cast  in  high-lights  harmonizing  beautifully  with  dark  back- 
grounds, it  is  not  intended  for  use  when  vignetted  prints  with  white 
backgrounds  are  wanted.  Made  in  smooth  surface  only. 

Pictures  of  beautiful  softness  and  breadth  can  be  made  on 
Special  Royal  Bromide  by  making  the  enlargement  through  a  screen 
Effects  of  silk  bolting  cloth.  The  screen  softens  the  heavy  mass  of 

the  shadows  and  blends  them  into  harmony  with  the  higher 

tones. 

The  most  convenient  way  to  use  the  bolting  cloth  is  to  stretch  it 
over  a  frame.  If  the  screen  is  used  in  direct  contact  with  the  paper, 
the  enlargement  has  the  effect  of  being  made  on  fine  meshed  canvas. 

To  secure  diffusion,  place  the  screen  at  a  distance  of  one-fourth  inch 
to  one  inch  from  the  paper.  The  further  the  screen  is  removed  the  great- 
er the  diffusion  of  light. 

The  use  of  the  screen  increases  the  exposure  about  one-third.  Fo- 
cusing (when  not  using  the  Kodak  Auto-Focus  Enlarger)  should  be 
done  before  the  screen  is  put  in  place.  With  smooth  paper  the  fine 
mesh  bolting  cloth  should  be  used.  With  rough  paper  use  either  the 
medium  or  coarse  mesh.  For  small  prints  use  fine  mesh.  For  the 
convenience  of  our  customers  we  have  arranged  to  furnish  the  best 
quality  of  silk  bolting  cloth  and  will  ship  it  in  rolls,  thus  avoiding  all 
folds  or  creases  in  the  cloth. 

Of  the  several  processes  for  securing  Sepia  tones  in 
Sepia  Tones  Bromide  prints,  we  give  preference  to  the  method  of 
on  Eastman  re-developing  and  the  use  of  Velox  or  Royal  Re-develop- 
Bromide  er.  The  results  secured  with  Velox  or  Royal  Re- 

Papers  developer  are  permanent.  There  is  no  change,  except 

in  the  color  of  the  print,  either  in  detail  or  gradation. 
The  expense  of  the  process  is  slight,  as  about  one  hundred  and  twenty 
7x11  prints  or  their  equivalent  can  be  re-developed  with  the  contents  of 
one  of  the  larger  packages  of  Velox  Re-developer,  and  the  time  involved 
is  considerably  less  than  required  when  using  any  other  method  or 
toning  process. 

A  Bromide  print  of  any  texture  of  surface,  which,  when  made,  was 
evenly  fixed  and  thoroughly  washed,  will  give  a  desirable  result  when 
re-developed. 

Some  additional  features  of  Velox  or  Royal  Re-developer  are  as 
follows: 

Uniformity — Following  the  directions  given  with  the  package  will 
insure  absolute  uniformity. 

Rapidity — A  black  and  white  or  a  Royal  Bromide  print  can  be  turned 
Sepia  in  less  than  two  minutes. 


ENLARGING  149 

To  prepare  bleaching  bath  dissolve  contents  of  one 
powder  in  package  marked  "Bleaching  Agent"  in  four 
I  o  Prepare       ounces  of  water. 
Solutions 

when  Using         To    prepare    re-developing    solution    mix    one-half 
the  Velox          ounce  of  liquid  from  bottle  with  16  ounces  of  water. 

(To  prepare  the  solutions  when  using  the  Royal 
Re-developer  follow  the  instructions  as  given  on  the 
package.) 

1.  Immerse  print  in  bleaching  bath,  letting  it  re- 
Directions  for  main  until  only  faint  traces  of  the  half-tones  are  left 
Re-development  and  the  black  of  the  shadows  has  disappeared.  This 

will  take  about  one  minute  though  no  harm  will 
result  from  a  somewhat  longer  immersion. 

2.  Rinse  the  print  thoroughly  in  clean,  cold  water,  until  no  yellow- 
ness femains  in  wash-water. 

3.  Place  print  in  re-developing  solution  until  original  detail  returns. 
(Fully  thirty  seconds.)     Too  strong  a  solution  of  Re-developer  or  too 
long  immersion  in  this  solution  will  cause  blisters. 

4.  After  print  has  been  re-developed,  it  should  be  rinsed  thoroughly 
then  immerse  it  for  five  minutes  in  the  following  hardening  solution: 

Water 16  ozs. 

Velox  Liquid  Hardener 1  oz. 

5.  Wash  for  about  half  an  hour  in  running  water;   move  the  prints 
about  occasionally  during  the  time  of  washing.      If  running  water  is 
not  available,  give  the  prints  six  changes  of  water  transferring  prints 
separately  from  one  tray  to  another,  with  an  interval  of  about  five 
minutes  between  each  change. 

Coloring  Bromide  Enlargements 

The  various  surfaces  of  Bromide  are  particularly  well  adapted  for 
coloring,  and  prints  may  be  made  extremely  interesting  through  the 
many  beautiful  effects  obtained  by  the  use  of  Velox  Transparent  Water 
Color  Stamps.  No  experience  is  necessary  when  using  these  colors  and 
any  amateur  can  secure  excellent  results,  as  full  directions  accompany 
each  set  of  stamps. 

Put  up  in  book  form,  they  will  be  found  most  convenient.  Each 
book  contains  twelve  colors,  arranged  in  perforated  leaflets,  making 
twenty-four  stamps  of  each  color. 

There  is  also  made,  for  the  convenience  of  the  amateur,  the  Velox 
Transparent  Water  Color  Stamp  Outfit  which  contains  everything 
necessary  for  coloring  prints,  etc.  The  Outfit  consists  of  an  Artist's 
Mixing  Palette,  three  special  Camel's  Hair  Brushes,  and  one  book  of 
Velox  Transparent  Water  Color  Stamps  (12  colors.) 

The  stamps  will  be  found  most  desirable  for  the  coloring  of  Velox 
prints,  lantern  slides,  etc.,  and  in  fact,  for  all  work  where  perfect  blending 
and  transparency  of  color  is  required. 


150  ENLARGING 


THE  KODAK  ENLARGING  OUTFIT 

Of  the  many  kinds  of  enlarging  cameras  that  have  been  designed 
several  styles  are  still  in  use,  but  the  particular  type  that  permits 
a  wide  range  of  control  in  the  printing  of  the  enlargements,  and  with 
which  enlargements  of  any  size  can  be  made,  is  one  of  the  focusing 
types,  in  which  the  negative  is  held  in  a  sliding  frame  or  carrier,  which 
fits  in  the  back  of  the  camera,  while  the  lens  is  attached  to  the  camera 
front.  The  light  that  prints  the  picture  passes  through  the  negative, 
then  through  the  bellows  to  the  lens  which  projects  the  negative  image 
to  a  movable  board,  known  as  an  easel. 


The  image  is  focused  on  a  sheet  of  white  paper  which  is  attached  to 
the  easel.  After  the  focus  has  been  adjusted  the  Bromide  paper  is 
placed  on  the  easel  and  the  exposure  made. 

The  enlargement  thus  obtained  may  be  of  any  shape  or  size  desired. 
The  shape  is  determined  by  the  mask  that  is  placed  over  the  negative, 
and  the  size  of  the  picture  is  determined  by  the  distance  from  lens 
to  negative  and  lens  to  easel.  These  distances  can  be  quickly  adjusted 
by  the  photographer  for  securing  the  size  of  enlargement  that  is  wanted. 

The  Kodak  Enlarging  Outfit  is  an  enlarging  equipment  of  the 
type  we  have  described.  While  this  outfit  is  very  simple  it  has  all 
the  essential  features  that  are  needed  for  doing  the  same  range  of 
work  that  the  larger  and  more  elaborate  professional  outfits  will  do. 

The  Kodak  Enlarging  Outfit  includes  camera,  negative  carrier, 
lens,  lamp-house  and  easel.  It  is  furnished  complete,  ready  for  use 
with  the  sole  exception  of  the  60-watt  Mazda  lamp  that  gives  the 
light  for  printing  the  enlargement.  Local  lighting  companies  supply 
60-watt  lamps  that  are  adapted  for  the  voltages  their  lines  carry. 

With  this  equipment  the  photographer  can  make  enlargements 
from  the  whole  or  from  any  part  of  a  negative,  in  any  dark-room. 
When  a  dark-room  is  not  available  in  the  daytime,  the  enlargements 
can  be  made  at  night  in  any  ordinary  living  room. 


ENLARGING  151 

When  all  doors  are  closed  and  all  window  shades  are  drawn  to  fully 
cover  the  windows,  any  room  into  which  no  artificial  light  penetrates, 
will  be  dark  enough  for  making  enlargements  at  night.  Traces  of  moon- 
light that  may  come  into  the  room  through  the  spaces  between  window 
shades  and  windows  will  not  affect  Bromide  paper  unless  the  moonlight 
shines  on  the  paper. 

The  Kodak  Enlarging  Outfit  will  not  only  make  enlargements  from 
iy8  x  2Y2,  iy±  x  2^,  2^  x  3M,  2K  x  4#,  2%  x  4%,  3M  x  4&, 3^x3^, 
4x5  and  3M  x  5%  negatives,  which  are  the  popular  sizes,  but  from  all 
sizes  of  both  film  and  glass  negatives  that  are  not  larger  than  4x6. 

Bromide  paper  should  be  used  when  making  enlargements  with  the 
Kodak  Enlarging  Outfit. 

This  outfit  may  be  used  as  well  for  lantern  slide  making.  See  page  1 58 . 


152 


ENLARGING 


THE  BROWNIE  AND  VEST  POCKET  KODAK 
ENLARGING  CAMERAS 

The    Brownie    Enlarging    Camera    idea    is 

to  make  enlargements  in  the  simplest  manner 

possible  and  to  furnish,  at  Brownie  prices,  just 

the  result-producing  parts  necessary  for  daylight 

enlargement. 

How  well   this   idea  has   been   carried  out 

may  be  judged  from  the  low  prices  at  which 

these  cameras  are  furnished  and  the  fact  that 

with  them,  enlargements  up  to  7  x  11  size  may 

be  made,   and  of  as  good  quality  as  can  be 

obtained  by  any  method. 

The  Brownie   Enlarging   Camera   is   simply 

a  cone-shaped  box    constructed  of  substantial 

material,   with  a  holder  for  the  paper  at  the 

large  end,  and  a  negative  holder  at  the  small 

end.     The  box  is  collapsible  for  convenience  in 

carrying.    It  can  be  set  up,  ready  for  use,  in  a 

few   seconds.       The    lens    (which    comes  with 

each    Enlarging  Camera)    is    fitted    inside    the 

cone  at  just  the  right  distance  to  insure  a  sharp   focus  always;  an  out- 

of  -  focus  enlargement 
is  impossible  if  the 
negative  is  sharp. 

In  making  an  en- 
largement, the  box  is 
set  up  and  the  nega- 
tive placed  in  the 
holder,  a  sheet  of 
Bromide  paper  in 
the  paper  holder,  and 
the  exposure  made  by 

setting  the  camera  where  the  full,  unobstructed  light  (not  direct  sunlight) 

of    the    sky    will    fall    upon    the 

negative.      When    sufficient   expo- 
sure has  been  given  (explained  in 

the    manual    supplied    with     the 

Enlarger)   the  paper  is  developed 

in  the  usual  manner. 

To   assemble   the   camera  take 

everything    out    of    the    box    and 

closely    inspect    Fig.    1,    showing 

appearance    of    the    camera    when 

ready  to  use.    The  camera  is  com- 
posed of  a  cone,  in  two  sections, 

a  lens  board  and  lens,  paper  and 

negative  holders. 

1.  Take  the  paper  holder  (the 

large    frame    with    hinged    back)  Fig.  3 


ENLARGING  153 

and  place  flat  on  the  table  before  you,  grooved  side  uppermost,  and 
unclasp  buttons  on  flap,  as  shown  in  Fig.  2. 

2.  Carefully   fit   the   wide   end   of   the 
j^^     larger  section  of  cone  into  grooves  in  paper 

_  .^^fc      holder  and  push  hooks  into  position.    Fig.  3. 

f      jjfcfc        WV      (^  3.  Now  place  lens  board  over  the  end 

f&    j^l  F    -^      of  larger  section  of  cone,  being  sure  that 

Mj     H  the  side  marked  "Short  Section  this  side" 

^^*       I  is  uppermost. 

IK  On  the  reverse  or  under  side  of  the  lens 

board  is  located  the  metal  diaphragm  plate. 

In  order  to  more  easily  clean  both  sides 

of  the  lens,  the  diaphragm  plate  may  be 

removed  by  turning  it  to  the  left  by  means 

HL  of  the  two  round  projections.     Then  wipe 

&£.  the  lens  with  a  clean  linen  handkerchief. 

^^^^^^^^™  Aftel-  lens  is  cleaned,  make  sure  that  the 

Fig.  4  diaphragm  plate  is  replaced  and  that  it  is 

securely  locked. 

Wipe  out  the  inside  of  the  camera  occasionally  with  a  damp  cloth 
to  remove  all  dust. 

On  the  two  long  sides  of  the  lens  board  are  metal  locks  which 
must  be  fitted  over  the  pins  on  the  sides  of  cone.    Fig.  4. 

4.  Before  pushing  over  the  locks,  fit  the  wide 
end   of  the  smaller  section  of  cone  into  grooves 
in  lens  board.     Then  push  the  two  metal  locks 
over  the  pins,    thus  giving  firmness  and  rigidity 
to  the  entire  cone.     Fig.  5.     (There  are  two  pins 
on  each  side  of  the  smaller  section  which  must 
fit  into  the  locks  in  the  same  manner  as  the  pins 
on  the  larger  section.) 

5.  The  small  frame   containing  two  sheets  of 
glass  (retained  by  spring  fingers),  is  the  negative 
holder,  and  is  to  be  fastened  to  small  end  of  cone 
by  means  of  the  hooks,  as  shown  in  Fig.  6. 

The  camera  is  now  ready,  as  shown  in  Fig.  1, 
and  the  negative,  from  which  the  enlargement  is 
to  be  made,  should  be  placed  in  the  small  frame 
between  the  two  glasses  with  the  face  or  dull  side 
towards  the  lens. 

Any  size  negative,  the  same  size  or  smaller  than  the  opening  of 
negative  holder  at  end  of  Enlarg- 
ing Camera  may  be  used  for 
enlarging.  The  smaller  negative 
will  enlarge  in  proportion  to  its 
size,  but  will  not  enlarge  to  the 
full  capacity  of  the  camera. 

For  instance,   a  2^   x  4J4 
negative   may   be    used   in   the 
Fig.  6  No.      3      Brownie      Enlarging 


154  ENLARGING 

Camera,  which  is  primarily  intended  for  use  with  3%  x  4J4  negatives. 
It  will  be  necessary,  however,  to  use  a  mask  with  any  negative  smaller 
than  the  opening  in  the  negative  holder,  in  order  to  cut  out  all  light  other 
than  that  which  passes  directly  through  the  image,  as  by  not  using  the 
mask  the  light  around  the  edges  of  the  negative  will  fog  the  print. 

The  paper  holder  is  to  be  loaded  with  a  sheet  of  Bromide  (in  the  dark- 
room) and  all  is  ready  for  the  exposure,  the  duration  of  which  is  explained 
in  the  enlarging  camera  manual. 

The  Vest  Pocket  Kodak  and  No.  2  Brownie  Post  Card  Enlarging 
Cameras  are  similar  to  the  Brownie  and  differ  only  as  to  loading  and, 
due  to  their  reduced  size,  are  not  collapsible. 

The  Vest  Pocket  Kodak  Enlarging  Camera  makes  enlargements 
post  card  size  (3J^  x  5J^)  from  Vest  Pocket  Kodak  negatives. 

The  No.  2  Brownie  Post  Card  Enlarging  Camera  makes  enlarge- 
ments post  card  size  (3^x5^)  from  1%  x  3%  negatives. 

The  No.  2  Brownie  Enlarging  Camera  makes  5x7  enlargements 
from  2}4  x  3  J4  negatives,  or  5  x  5  enlargements  from  2^x2^  negatives. 

The  No.  3  Brownie  Enlarging  Camera  makes  6^x8^  enlargements 
from  3J^  x  4J4  negatives,  or  5  x  8J^  enlargements  from  2J^  x  4J4 
negatives. 

The  No.  3 A  Brownie  Enlarging  Camera  makes  7x11  enlargements 
from  3J4  x  5^  negatives,  or  6J4  x  10  J^  enlargements  from  2J/g  x  4J^ 
negatives. 

The  No.  4  Brownie  Enlarging  Camera  makes  8  x  10  enlargements 
from  4x5  negatives. 

Proportionate  enlargements  can  be  made  from  smaller  negatives 
with  the  No.  2,  No.  3,  No.  3A  and  No.  4  Brownie  Enlarging  Cameras. 

The  ease  of  setting  up  the  Brownie  Enlarging  Cameras  is  shown 
in  the  accompanying  illustrations. 


Lantern  Slides 


THE  making  of  lantern  slides  is  one  of  the  most  fascinating  and 
at  the  same  time  one  of  the  simplest  branches  of  amateur 
photography. 

A  well  selected  and  prepared  set  of  lantern  slides  will  provide  a 
most  pleasant  evening's  entertainment,  and  as  the  apparatus  necessary 
for  projection  does  not  entail  a  great  outlay,  the  amateur  pursuing  this 
branch  will  find  his  efforts  well  rewarded. 

The  first  essential  for  a  good  lantern  slide  is  a  good  negative,  one 
not  only  of  even  gradation,  but  free  from  physical  blemishes  such  as 
pin  holes  or  scratches.  It  must  be  remembered  that  the  picture  thrown 
on  the  screen  is  magnified  many  times  and  imperfections  almost  too 
small  to  be  noticed  in  the  negative  or  slide  will  show  up  most  alarmingly 
on  the  screen. 

On(the  other  hand,  it  is  quite  possible  to  produce  a  good  slide  from 
an  indifferent  negative  by  alterations  in  exposure  and  development: 

For  instance,  a  flat  negative  may  be  made  to  yield  greater  contrast 
in  the  slide  by  a  slight  under-exposure  and  a  little  longer  development, 
or  if  the  negative  has  more  than  the  proper  contrast  a  little  longer 
exposure  will  tone  this  down,  and  thus  even  up  the  gradation  in  the 
slide. 

In  selecting  negatives  to  be  used  in  making  slides,  examine  them 
carefully,  spotting  out  with  extreme  care,  pin  holes,  scratches  and 
the  like.  In  spotting  be  careful  to  match  the  surrounding  density  as 
nearly  as  possible;  if  your  spotting  is  too  strong,  it  will  result  in  corres- 
ponding transparent  spots  on  your  slide  which  will  be  exceedingly 
difficult  to  doctor. 

There  are  two  methods  of  making  lantern  slides,  by 
Making  contact  and  by  reduction.  The  contact  method  being 

the  Slide  the  simpler  of  the  two  will,  no  doubt,  appeal  to  the 

beginner. 

The  contact  method  entails  no  apparatus  beyond  an  ordinary 
printing  frame.  With  this  method  the  negative  is  placed  face  up  in 
the  printing  frame,  and  the  lantern-slide  plate  is  placed  in  contact 
with  it,  the  exposure  being  made  in  the  same  manner  as  when  making 
a  Velox  print.  It  stands  to  reason,  that  by  the  contact  method,  if  the 
negative  is  larger  than  the  slide  plate,  only  such  portions  can  be  used 
as  will  come  within  the  limits  of  the  slide  plate  (the  standard  American 
size  being  3%  x  4  inches.) 

In  a  great  many  instances  the  actual  picture  is  confined  to  a  small 
portion  of  the  negative,  and  the  area  of  the  slide  plate  will  be  found 
sufficient  to  encompass  it.  When  such  is  not  the  case  the  reduction 
process  must  be  resorted  to. 

In  making  slides  by  contact  it  will  be  well,  though  not  absolutely 
necessary,  to  select  a  printing  frame  several  sizes  larger  than  the  negative 
employed. 

Note — If  you  are  working  with  film  negatives,  the  printing  frame  should  be  pro- 
vided with  a  sheet  of  clean,  clear  glass  as  a  support. 


156 


LANTERN  SLIDES 


As  lantern  slide  plates  are  as  sensitive  to  white  light  as  a  sheet 
of  bromide  paper,  the  operations  of  exposure  and  development  must 
be  carried  on  in  the  dark-room,  making  use  of  the  regular  dark-room 
lamp;  the  actual  exposure,  of  course,  being  made  by  white  light. 

After  placing  the  negative  in  the  printing  frame,  face  up,  place 
the  lantern  slide  plate  film  side  down,  in  contact  with  the  negative, 
covering  with  a  black  paper  mask  such  portion  of  the  negative  as 
you  do  not  desire  to  have  included  in  the  slide.  Remember,  that  as 
all  slides  are  used  in  the  lantern  horizontally,  no  slides  can  be  made 
vertically  on  the  slide  plate. 

Having  adjusted  the  slide  plate  on  the  negative  to  your  satisfaction, 
place  the  back  of  the  printing  frame  in  position,  and  before  making 
the  exposure  see  that  the  cover  is  on  the  box  of  unexposed  slides. 
The  exposures  should  be  made  by  artificial  light,  such  as  the  ordinary 
oil  lamp,  or  gas  or  electric  light.  To  secure  even  illumination  the 
printing  frame  should  be  about  twelve  inches  from  the  light. 

The  time  of  exposure  will,  of  course,  vary  according  to  the  density 
of  the  negative  and  the  intensity  of  the  light,  and  as  the  various  brands 
of  lantern  slide  plates  differ  in  rapidity,  a  test  exposure  will  be  necessary. 

As  a  basis  for  a  test  using  a  Welsbach  gas  burner,  select  a  'negative 
of  average  density,  cover  one-half,  and  make  an  exposure  of  sixjseconds, 
then  uncover  and  make  another  exposure  of  six  seconds;  you  will  then 
have  one-half  of  the  plate  with  twelve  seconds  exposure,  and  the  remain- 
ing half  with  six. 

Develop,  fix  and  wash  the  same  as  for  a  dry  plate  (using  the  formula 
recommended  by  the  maker  of  the  plate  you  are  using)  and  determine 
the  correct  exposure  from  this  test. 

When  making  slides  by  reduction,  the  whole  or  any 
Slides  by  part  of  the  negative  may  be  reproduced  in  the  slide, 
Reduction  as  the  negative  image  is  projected  upon  the  surface 

of  the  plate,  in  a  manner  similar  to  that  employed  in 

the  making  of  enlargements. 


Utilizing  the  Kodak  for  slide  making. 

The  above  illustration  clearly  shows  how  any  one  of  the  present 
models  of  focusing  Kodaks  may  be  utilized  for  slide  making  by  reduction . 


LANTERN  SLIDES  157 

As  the  bellows  extension  of  the  Kodak  is  insufficient  for  producing 
full  size  slides,  except  from  very  large  negatives,  the  necessary  focal 
length  is  obtained  by  means  of  an  extension  at  the  back.  This  extension 
is  simply  a  rectangular  wooden  box,  with  an  opening  in  the  front  just 
wide  enough  to  admit  the  extended  bellows  and  base-board  of  the  Kodak 
when  pushed  through  from  the  inside  of  the  box  (the  back  of  the 
Kodak,  of  course,  being  removed),  the  body  of  the  camera  being  held 
in  position  against  the  front  of  the  box  by  means  of  two  small  metal 
hooks.  The  length  of  the  extension  is  determined  by  the  bellows 
length  of  the  Kodak.  The  Kodak  used  in  the  illustration  is  the  3A, 
the  extension  being  8%  inches.  This  is  sufficient  for  producing  full 
size  slides  3J^  x  4  inches  and  from  3M  x  5^  negatives,  or  larger. 
The  back  of  the  box  is  hinged  at  the  bottom,  allowing  it  to  drop  down 
to  admit  the  Kodak,  fastening  at  the  top  by  means  of  a  spring  catch. 

An  opening  is  cut  in  the  back  of  the  box  3%  x  4^  inches  and  rabbets 
fitted  to  receive  a  sheet  of  ground  glass  in  a  frame,  or  a  3)4  x  4  plate 
holder!  The  frame  holding  the  sheet  of  ground  glass  for  focusing  should 
be  the  same  thickness  as  the  plate  holder  and  care  exercised  that  the 
ground  glass  and  lantern  plate  are  in  exact  register.* 

The  back  of  the  extension  should  rest  against  small  cleats  inside 
the  extension,  so  as  to  make  it  light-tight,  and  the  interior  painted 
a  dull  black  to  avoid  reflections. 

The  illustration  shows  the  Kodak  and  extension  fitted  to  a  board 
3%  feet  long  and  6  inches  wide. 

The  board  is  slotted,  to  receive  a  tripod  screw  fitting  into  a  socket 
in  the  bottom  of  the  extension,  so  that  the  Kodak  may  be  firmly  locked 
at  any  point.  The  front  end  of  the  board  is  rabbeted  to  receive  an 
ordinary  printing  frame,  without  the  back,  for  holding  the  negative. 
The  negative  is  placed  in  the  frame,  with  the  emulsion  side  facing 
the  Kodak,  and  held  in  place  by  means  of  turn  hooks  or  thumb  tacks. 

A  good,  strong  tripod  forms  a  splendid  support  for  the  outfit,  or 
it  may  be  placed  on  an  ordinary  table. 

For  exposure,  a  north  light  is  preferable,  and  one  unobstructed 
by  trees  or  buildings.  If  this  is  not  possible,  place  a  sheet  of  finely 
ground  glass  back  of  the  negative  to  diffuse  the  light  evenly.  All 
windows  should  be  blocked,  except  a  space  a  little  larger  than  the 
negatives  used,  and  the  negative  is  placed  as  close  to  this  opening 
as  possible.  The  image  is  focused  on  the  ground  glass  panel  at  the 
back  of  the  extension  in  the  ordinary  manner,  after  which  the  plate 
holder  is  inserted  and  the  exposure  made  by  means  of  the  shutter. 

As  the  speed  of  lantern  slide  plates  is  practically  the  same  as  that 
of  Bromide  paper,  see  page  139  for  suggestions  as  to  exposure. 


*A  4  x  5  or  3}£  x  5H  plate  holder  may  be  used  if  fitted  with  a  3>£  x  4  kit. 


158 


LANTERN  SLIDES 


Making  Lantern  Slides  with  the  Kodak 
Enlarging  Outfit 

With  the  Lantern  Slide  Block  and  the  Kodak  Portrait  Attachment 
No.  5,  the  Kodak  Enlarging  Outfit  can  be  easily  utilized  for  making 
lantern  slides.  Remove  the  wing  nut  from  the  bolt  and  place  the  Lan- 
tern Slide  Block  in  position  in  the  center  of  the  easel  (it  will  be  necessary 
to  make  a  hole  about  three  inches  long  in  the  center  of  the  cardboard 
on  the  easel  to  admit  the  bolt  on  the  Lantern  Slide  Block),  then  replace 
the  wing  nut  on  the  bolt  and  tighten  the  block  by  turning  the  wing  nut 
to  the  right.  The  slot  in  the  center  of  the  easel  makes  a  vertical  ad- 
justment of  the  Lantern  Slide  Block  possible  in  order  to  properly  center 
the  image.  The  easel,  with  Lantern  Slide  Block  in  proper  position  is 
shown  in  the  illustration.  Place  the  Kodak  Portrait  Attachment  over 


lens  and  bring  the  camera  quite  close  to  the  easel,  then  focus  the  camera 
as  when  making  enlargements.  The  Kodak  Portrait  Attachment  re- 
duces the  size  of  the  image,  and  in  this  manner  it  is  possible  to  make 
lantern  slides  from  large  negatives,  or  particular  parts  of  them,  reduc- 
ing the  image  down  to  the  proper  size. 

Full  instructions  for  developing  are  included  in  each  package  of 
lantern  slide  plates. 


Coloring  Lantern  Slides 

IT  is  just  as  easy  to  color  lantern  slides  as  it  is  to  tint  prints,  and 
when  we  see  the  colors  of  nature  in  the  large  picture  that  is  projected 
from  the  small  lantern  slide  to  the  viewing  screen  we  can  almost 
believe  we  are  looking  through  the  window  of  a  darkened  room  at 
the  actual  objects  that  the  picture  represents. 

Ordinarily,  lantern  slides  need  no  preparation  for  coloring  other 
than  thoroughly  hardening  the  gelatine  in  which  the  image  is  em- 
bedded, so  that  it  will  not  be  injured  when  the  colors  are  applied.    This 
is  accomplished  by  immersing 
the  slides  for  one  minute  in  a 
solution   of   one   part   40   per 
cent,  formaldehyde  and  twen- 
ty   parts    water,    after   which 
they     must     be     thoroughly 
washed'and  dried. 

The  materials  needed  for 
coloring  are,  a  book  of  Velox 
Water  Color  Stamps,  some 
number  3  or  number  4  red 
sable  water-color  brushes,  an 
enameled  or  porcelain  slant 
with  depressions  for  colors, 
and  a  tumbler  of  water.  The 
lantern  slide  should  be  sup- 
ported in  an  inclined  position 
on  a  piece  of  opal  or  ground 
glass,  with  an  incandescent 

co,nfn"  trS 
the  slide  should  be  masked  off.    This  can  be  done  with  black  paper. 

The  R.  O.  C.  Retouching  Desk,  which  can  be  obtained  through 
Kodak  dealers,  is  an  especially  convenient  device  for  holding  the  slides. 

Lantern  slides  should  not  be  colored  by  daylight,  for  shades  of  color 
that  look  different  by  daylight  may  look  too  much  alike  by  the  artificial 
light  used  in  a  projecting  lantern.  The  colors  most  useful  are  deep 
yellow,  flesh  tint,  brilliant  red,  warm  brown,  deep  green  and  light  blue. 
Sepia  and  light  brown  can  be  prepared  by  mixing  Velox  colors  in  suitable 
proportions.  Equal  proportions  of  brown,  flesh  tint  and  deep  yellow 
make  a  good  light  brown,  and  brown  with  a  little  dark  blue  and  scarlet 
make  a  sepia.  A  wash  of  sepia  followed,  when  dry,  with  a  second 
coat  of  light  blue  gives  a  very  satisfactory  effect  which  is  especially 
useful  for  distant  mountains. 

A  wash  of  yellow  followed  by  red  will  give  orange,  and  the  shade 
may  be  altered  at  will.  So  with  all  other  combinations.  The  colors 
best  mixed  beforehand  are,  roof  red  for  tile  roofs,  etc.,  made  up  of 
flesh  tint,  warm  brown  and  stone  gray;  and  a  good  greenish  gray  for 
rocks,  old  buildings,  etc.,  obtained  by  mixing  warm  brown  with  a  little 


160  COLORING  LANTERN  SLIDES 

dark  blue.  Do  not  use  much  purple,  violet,  dark  blue  or  other  color 
that  does  not  contain  yellow,  for  these  colors  are  dull  and  lifeless  when 
projected  by  artificial  light. 

Special  color  combinations  may  be  made  by  blending  them  on  the 
slide  itself.  If  it  is  desired  to  mix  them  before  applying  to  the  slide, 
this  should  be  done  on  a  sheet  of  glass.  Do  not  mix  the  colors  on  the 
slant,  for  it  is  best  to  keep  the  original  colors  pure  and  clean  so  that 
the  unmixed  colors  that  are  not  used  can  be  dried  and  used  again. 

Having  prepared  the  colors  according  to  the  instructions  that  are 
furnished  with  the  Velox  Water  Color  Stamps,  place  the  slide  in  position 
for  coloring,  with  the  picture  upside  down,  and  wash  in  the  sky,  if 
sky  there  be,  by  filling  the  brush  with  light  blue,  not  too  strong,  and 
washing  back  and  forth  across  the  slide,  beginning  at  the  bottom  of 
the  slide  (the  top  of  the  picture)  and  gradually  running  the  color  up 
toward  the  horizon.  Do  not  let  the  color  rest  on  the  slide,  but  keep 
it  moving.  It  is  much  easier  to  deepen  a  shade  than  to  take  out  one 
after  it  is  set.  Some  workers  prefer  to  apply  plain  water,  with  the 
brush,  to  the  part  of  the  film  that  is  to  be  tinted,  until  the  film  is  well 
wetted,  as  this  prevents  the  film  from  absorbing  the  color  too  rapidly, 
but  a  little  experience  will  make  this  unnecessary.  Spread  the  color 
evenly,  leaving  the  sky  colorless  next  to  the  horizon.  You  never  see 
a  sky  in  nature  that  is  blue  all  the  way  down.  Do  not  color  the  sky 
pink  at  the  horizon  and  blue  above.  It  is  not  natural.  For  sunset 
effects,  flesh  color  at  the  horizon,  shading  into  deep  yellow  above,  is 
most  pleasing.  Use  the  color  more  dilute  as  you  approach  the  horizon 
so  that  the  last  strokes  are  practically  clear  water. 

Remove  all  excess  water  with  a  comparatively  dry  brush,  and  set 
the  slide  to  dry.  Start  another  in  the  meantime.  It  is  well  to  work 
on  six  or  eight  slides  at  once,  keeping  them  in  rotation,  and  putting 
in  one  color  at  a  time  and  letting  the  slide  dry  between  colors,  so  the 
colors  will  not  run  together.  When  it  is  desired  to  blend  two  or  more 
colors,  the  second  should  be  put  on  before  the  first  one  dries. 

If  clouds  are  present  in  a  picture,  they  may  be  left  white,  running 
blue  around  them.  In  fact,  it  is  possible  to  create  white  cloud  effects 
by  leaving  irregular  patches  of  clear  film  when  coloring  the  sky,  even 
if  no  clouds  are  indicated  in  the  original  picture.  To  do  this  effectively 
requires  some  skill,  however,  Dark  clouds  are  best  left  uncolored. 

If  an  evening  effect  is  desired,  do  not  use  blue  color,  but  tint  the 
spaces  between  the  dark  clouds  with  yellow  and  run  a  light  flesh  tint 
around  the  edges  of  the  clouds,  shading  into  the  yellow.  Until  skill 
is  acquired  in  laying  in  colors,  it  is  best  to  use  only  clear  blue  at  the 
zenith,  shading  to  colorless  at  the  horizon. 

Haying  finished  the  sky,  turn  the  slide  so  that  the  picture  will  be 
right  side  up  and  put  in  the  greens  for  trees  and  foliage.  A  medium 
wash  of  green,  afterwards  touched  up  with  yellow  in  the  highlights 
and  blue  in  the  shadows,  gives  an  effect  of  depth  which  is  very  desirable. 
Most  of  the  greens  in  nature  contain  much  yellow,  especially  in  spring. 


COLORING  LANTERN  SLIDES  161 

Warm  brown  for  roads,  walls  or  warm  toned  rocks,  stone  color  for  others 
and  your  slide  is  nearly  done.  Water  looks  blue  when  it  reflects  a  blue 
sky.  The  sea  should  usually  be  tinted  blue  and  streaked  while  wet 
with  brown  or  sepia  and  green,  blending  the  light  washes  so  as  to  give 
a  pleasantly  varied  effect. 

Faces  and  hands  should  be  tinted  the  color  of  flesh,  a  second  coat 
being  applied  to  cheeks  to  deepen  the  tint,  if  the  face  is  large  enough. 

The  clothing  should  be  tinted  to  show  its  natural  colors.  It  is  always 
best  to  guard  against  using  too  much  color.  One's  aim  should  be 
merely  to  tint  the  slide  so  as  to  give  a  natural  effect  and  not  enough  to 
attract  attention  to  the  coloring. 


COLORING  PHOTOGRAPHS 

PHOTOGRAPHS  can  often  be  made  more  attractive  by  the  addition 
of  color.     Picture  post-cards,  calendars,  Christmas  and  birthday 
greetings  may  be  made  more  attractive  by  tinting.     Studies  of 
plant,  animal  or  insect  life  are  much  more  useful  if  carefully  colored 
from  life  or  accurate  notes. 

The  most  suitable  prints  for  coloring  are  those  with  a  semi-gloss 
surface  like  Velvet  Velox  or  Velvet  Bromide.  Prints  with  a  very  high 
gloss  are  not  so  easily  colored.  Much  of  the  success  in  coloring  prints 
depends  upon  the  nature  of  the  print  to  be  colored.  It  must  not  be  too 
dark,  as  the  heavy  tones  showing  through  the  color  will  deaden  the 
clearness  and  brilliancy  of  any  transparent  tint  that  is  used.  When 
the  shadows  are  black  this  will  show  through  any  color  and  destroy  its 
effect.  The  most  desirable  print  is  one  that  reproduces  all  the  detail 
in  the  negative,  but  with  dark  gray  instead  of  black  shadows.  Such  a 
print  can  always  be  made,  providing  the  negative  is  not  too  contrasty,  by 
exposing  it  to  the  printing  light  just  long  enough  to  get  detail  in  the 
highlights  and  developing  it  for  about  half  the  time  it  should  have  if 
it  was  not  to  be  tinted. 

A  necessary  precaution  is  to  keep  the  face  of  the  print  free  from  any 
trace  of  greasiness,  finger  marks,  etc.,  otherwise  water  color  tints 
will  not  "take"  evenly  on  the  print.  If  the  sensitive  surface  of  the  print 
has  been  hardened  considerably  by  too  long  an  immersion  in  an  acid 
fixing  bath  it  will  not  take  the  color  well.  It  should  be  softened  by 
bathing  in  a  weak  solution  of  ammonia — common  household  ammonia 
one  part  to  twenty  parts  of  water — for  three  or  four  minutes,  then 
washed  thoroughly  in  several  changes  of  water. 

Mixing  colors  will  be  simplified  if  it  is  borne  in  mind  that  the  tints 
required  are  varying  combinations  of  the  three  primary  colors — red, 
yellow  and  blue.  With  these  three  colors,  of  as  true  shades  as  possible, 
the  secondary  colors  are  secured  by  mixing;  for  orange  take  yellow 
and  red;  green,  yellow  and  blue;  violet,  red  and  blue.  When  the 
yellow  predominates  in  green,  or  red  predominates  in  either  violet  or 
orange,  a  warmer  tone  is  produced,  while  the  reverse  effect  is  produced 
by  increasing  the  proportion  of  blue. 


162  COLORING  PHOTOGRAPHS 

Two  colors  are  complementary  to  one  another  when  one  is  a  mixture 
of  two  of  the  primary  colors  and  the  other  is  the  third  primary  missing 
from  the  combination,  such  as  yellow  and  violet;  blue  and  orange;  red 
and  green.  As  each  pair  contains  the  three  primary  colors  they  balance 
one  another,  and  when  seen  side  by  side,  each  complementary  increases 
the  apparent  intensity  of  the  other  by  contrast.  Another  point  is  that 
the  brilliancy,  or  purity  of  shade,  of  a  mixed  tint  can  be  reduced  or 
made  grayer  by  the  addition  of  its  complementary  color. 

While  moist  water-colors  in  pans  or  tubes  are  suitable,  the  most 
convenient  colors  for  amateur  use  are  the  dry  colors  put  up  in  booklet 
form.  The  booklet  of  Velox  Transparent  Water  Color  Stamps  contains 
twelve  leaflets,  scored  so  that  twenty  two  stamps  or  small  sheets,  uniform 
in  size,  can  be  cut  from  each  leaflet.  The  stamps  are  dissolved  in 
water  and  are  then  ready  to  use.  They  are  probably  the  most  con- 
venient and  economical  colors  to  use  for  occasional  work. 

In  addition  to  the  colors  the  requirements  are  slight:  a  few  camel' s- 
hair  brushes  of  different  sizes,  a  supply  of  absorbent  cotton,  blotting 
paper,  several  small  saucers  or  an  artist's  china-slant  in  which  to  mix 
the  tints,  and  a  sheet  of  glass  slightly  larger  each  way  than  the  size  of 
the  print  to  be  colored. 

When  ready  to  color,  soak  the  unmounted  print  in  water  until  thor- 
oughly limp,  place  one  or  two  layers  of  damp  blotting  paper  on  the 
glass  and  on  this  lay  the  wet  print,  rubbing  it  down  flat  with  a  clean 
blotter,  which  will  also  take  up  the  surplus  water  from  the  print.  The 
color  washes  can  now  be  floated  on  evenly  and  any  streaky  appearance 
avoided. 

When  large  spaces,  such  as  the  sky  in  an  open  landscape,  are  to  be 
done,  a  weak  tint  should  be  floated  on  freely  by  means  of  a  tuft  of  ab- 
sorbent cotton  saturated  with  the  color.  Give  the  print  time  to  absorb 
the  tint,  then  gently  remove  any  surplus  color  by  going  gently  over 
the  surface  with  a  wad  of  cotton  that  has  been  clipped  in  clear  water 
and  wrung  out.  If  this  is  done  after  every  wash  it  will  prevent  the  for- 
mation of  "tear  drops",  caused  by  the  floating  color  settling  in  spots 
as  it  dries.  If  the  first  application  of  color-wash  does  not  dry  deep 
enough  the  process  should  be  repeated  until  the  depth  desired  is  ob- 
tained. If  the  print  should  become  too  dry  while  working  it  should 
be  moistened  on  the  back  with  water,  the  blotting  paper  dampened  and 
pressed  down  flat  again. 

The  larger  portions  of  a  subject  should  always  be  treated  first  and 
when  the  general  color  scheme  looks  right  the  smaller  details  can  be 
filled  in — these  are  best  done  after  the  print  has  dried  out  somewhat. 

If  moist  colors  are  used  great  care  must  be  taken  to  avoid  getting 
any  tint  where  it  is  not  wanted,  because  the  washes  sink  into  the  print 
and  are  difficult  to  remove.  If  a  color  should  accidentally  run  over 
the  limit,  the  tint  if  not  too  strong,  can  usually  be  sufficiently  reduced 
by  repeatedly  washing  the  spot  with  ammonia  water,  dried  off  with 
cotton  moistened  with  clear  water. 

When  it  is  desired  to  convey  an  impression  of  depth  and  space,  more 
especially  in  open  outdoor  scenes,  delicate  tints  should  be  used  for  the 


COLORING  PHOTOGRAPHS  163 

sky  and  distance,  cool  gray  and  violet  tones  for  the  extreme  distance, 
saying  the  darkest  and  more  powerful  colors  for  the  foreground.  In  a 
bright  sunny  scene  as  much  warm  color  should  be  worked  in  as  the 
nature  of  the  subject  will  stand,  keeping  the  shadows  cool  in  tone  by 
the  use  of  violet  and  blue-green  washes — strengthening  the  effect 
through  the  power  of  color  contrast. 

The  work  is  easier  than  it  sounds  in  the  description,  and  the  results 
improve  rapidly  with  practice. 


Photographic  Silhouettes 

Reprinted  from  "Kodakery" 


A  "SILHOUETTE"  usually",  consists 
of  a  uniformly  dark  image  on    a 
white  ground.  There  are,  of  course, 
white  silhouettes  also,  though  dark  ones 
are  usually  understood. 

As  the  image  in  a  portrait  silhouette 
is  void  of  detail  the  attention  of  the 
observer  is  forcibly  drawn  to  its  put- 
lines,  which  are  usually  characteristic 
enough  to  disclose  the  identity  of  the 

person  portrayed.  Trimmed  Image  taken  from 

T  ,  ,       .  .  -     ,  Full  Image  on  Page  165. 

Long  before  the  invention  of  photog- 
raphy, silhouettes  were  made  by  tracing  the  outlines  of  a  shadow  on  the 
wall,  or  on  a  sheet  of  paper,  and  then  filling  in  these  outlines  with  dark 


Selected  Parts  Printed  from 
Negative.     Full  Image  on 
Negative  Shown  onlLeft. 


SILHOUETTES  165 

pigment.  Silhouettes  were  also  made  by  cutting  the  shadow  portraits 
from  black  paper  with  a  pair  of  scissors.  This  latter  method  became  very 
popular  in  the  early  part  of  the  last  century  and  many  of  the  excellent  sil- 


A  SILHOUETTE  INCIDENT 

Full  Size  of  Image.    How  it  may  be  trimmed  is 

Suggested  by  Illustration  on  Page  164. 

houettes  that  were  made  at  that  time,  especially  those  of  our  presidents 
and  other  public  men,  are  now  preserved  in  museums.  It  is  interesting, 
incidentally,  to  recall  that  the  first  sun  prints  ever  made  were  silhouettes. 

Photographic  silhouettes  can  be  made  by  any  kind  of  light  that 
is  strong  enough  for  making  a  negative,  but  the  surest  and  easiest 
way  of  obtaining  uniform  results  is  to  make  the  exposures  by  flash-light 
in  the  evening. 


166 


SILHOUETTES 


Two  rooms,  with  a  doorway  between,  are  needed.  The  doorway 
must  be  wholly  covered  with  a  sheet  of  white  cloth  (a  bed  sheet  is 
excellent)  stretched  smooth  so  that  no  wrinkles  can  be  seen.  Wrinkles 
in  the  sheet  will  show  in  the  print.  The  subject  and  the  camera  are 
placed  in  one  room  and  the  flash-light  in  the  other.  The  subject  is 
posed  before  the  sheet,  facing  at  a  right  angle  to  the  camera.  The 
face  should  be  in  full  profile,  so  that  not  even  the  lashes  of  the  eye 
nearest  the  sheet  will  be  visible  when  the  subject  is  viewed  from  the 
position  of  the  lens. 

As  shown  by  the  diagram  on  page  167  the  flash-light  should  be  so 
placed  that  a  line  drawn  from  the  center  of  the  lens  to  the  position 
of  the  flash-light  would  pass  through  the  center  of  the  sheet  that  covers 
the  doorway. 


Full  Image  with  all  Accessories. 

Just  before  making  the  exposure  all  lights  in  both  rooms  must 
be  extinguished  and  after  the  shutter  is  opened  the  flash-light  is  ignited, 
after  which  the  shutter  should  be  immediately  closed  and  the  lights 
in  the  room  turned  on  again. 

In  making  silhouettes  reflections  from  the  walls,  pictures  and 
furniture  should  be  avoided.  A  doorway  near  the  corner  of  a  room 
is  not  suitable,  unless  the  wall  paper  is  very  dark.  White  or  light 
colored  costumes  are  also  less  suitable  than  those  that  are  dark. 

The  negatives  must  be  contrasty,  so  that  nothing  but  the  shadow- 
like  image  of  the  subject  will  show  in  the  print.  Contrasty  negatives 


SILHOUETTES 


167 


will  be  obtained  by  developing  the 
films  in  the  Kodak  Film  Tank  for 
fifteen  minutes,  with  two  Tank 
Developing  Powders,  used  at  a  tem- 
perature of  65  degrees.  Tray 
developed  negatives  will  be  contrasty 
if  developed  with  a  double  strength 
developer,  until  the  background  (as 
seen  from  the  back  of  the  negative) 
is  blackened  to  the  base  of  the 
emulsion. 

The  lower  part  of  a  silhouette 
negative  should  usually  be  masked 
in  printing.  The  mask  may  be 
made  of  any  kind  of  opaque  paper, 
cut  or  torn  to  the  shape  desired. 
The  mask  may  be  laid  between  the 
printing  paper  and  the  negative,  or 
held  over  the  back  of  the  negative 
during  printing. 

Opaque  may  be  applied  with  a 
spotting  brush  (both  of  which  may 
be  had  of  Kodak  dealers)  on  the 
back  of  the  negative,  for  blocking 
out  the  image  of  anything  that  may 

show  in  the  negative  outside  the  area  covered  by  the  sheet.     The 

outlines  of  costumes  and  accessories  may  also  be  modified  by  this 

method,  if  desired. 

Silhouettes  must  be  printed  on  contrasty  paper,  like  Regular  Velox. 

Soft  paper,  like  Special  Velox,  is  not  suitable  unless  the  density  of  the 

background  is  extreme. 

When  the  subject  is  placed  2  feet  ffom  the  white  sheet  and  the 

flash-light  is  ignited  5  feet  behind  the  sheet,  with  the  lens  stopped  to 

/.8  (U.  S.  4)  the  following  table  will  indicate  size  of  flash  sheet  to  use 

with  the  various  sizes  of  cameras  listed: 
I* 

VA 
V 
3) 


Image  Shown  on  Page  166  as 
Printed  Through  a  Mask. 


1  No.  1  Eastman  Flash  Sheet 


1  No.  2  Eastman  Flash  Sheet 


4x51 

4^  x  6^  fl  No.  3  Eastman  Flash  Sheet 

5      x7 




I 

,,-.--" 

r 

r—  v.  I       12  feel  } 

Camera          '  Subject 

whites 

__._-?*.*.....,  O 

Flash 
light 

Diagram  showing  arrangements  for  making  Silhouettes. 


GLOSSARY  OF 
PHOTOGRAPHIC  TERMS 


ACID — A  sour  substance  in  crystal  or  liquid  form,  being  a  compound 
of  hydrogen,  in  which  all  or  part  of  the  hydrogen  may  be  ex- 
changed for  a  metal,  forming  a  new  compound.  Acids  have  the 
power  to  decompose  most  carbonates. 

ABERRATION — A  defect  in  a  lens  causing  it  to  give  a  distorted  image 
or  one  not  perfectly  sharp. 

ABRASION  MARKS — Black  lines  or  markings  produced  on  the  surface 
of  photographic  paper  by  rubbing  or  pressure. 

ACTINIC — The  "actinic  rays"  of  light  are  those  which  produce  chemical 
changes  or  photographic  action. 

ACTINOMETER — An  instrument  for  gauging  the  strength  or  actinic 
power  of  light  by  an  observation  of  the  time  taken  for  a  sensitive 
paper  to  darken  to  a  standard  tint. 

ACCELERATOR — A  chemical  added  to  a  developer  to  bring  out  the  image 
more  quickly — sodium  carbonate  is  commonly  employed. 

AIR  BELLS — Bubbles  on  sensitized  surface  of  prints,  produced  by 
immersing  the  paper  face  down  in  the  developer  or  using  too 
small  an  amount  of  solution. 

ACHROMATIC — Colorless;  applied  to  a  lens  whose  chemical  and  visual 
focus  coincide.  (See  page  6.) 

ALKALI — The  direct  opposite  of  an  acid,  and  with  power  to  neutralize 
acids  and  form  fresh  compounds  called  salts. 

ANASTIGMAT  LENS— jOne  free  from  astigmatism,  or  the  fault  of  not 
bringing  vertical  and  horizontal  lines  equally  well  to  a  focus. 

ANHYDROUS — A  chemical  term  signifying  that  a  substance  is  absolutely 
free  from  water. 

ASTIGMATISM — A  defect  in  a  lens  that  prevents  it  from  rendering  vertical 
and  horizontal  lines  equally  sharp. — See  Anastigmat. 

BACKING — A  coating  of  non-reflecting  material  applied  to  the  back 
of  a  plate,  to  prevent  halation.  (Note. — Use  Kodak  Film  and 
avoid  halation.) 

BATH — A  term  applied  to  a  developing,  fixing  or  other  solution. 
BUBBLES — See  air  bells. 

CABLE  RELEASE — A  short,  flexible,  cloth  encased  wire  with  a  push-pin 
head,  operating  the  release  lever  of  a  shutter. 

CONCENTRATED — As  applied  to  liquid  preparations  means  that  the 
chemicals  which  comprise  them  have  been  dissolved  in  the  least 
possible  quantity  of  water. 


GLOSSARY  169 

CONTRASTY — A  term  applied  to  prints  meaning  hard,  "chalky."  ex- 
tremely black  shadows  and  white  highlights;  lacking  in  detail 
as  applied  to  negatives. 

CONVERTIBLE  LENS — One  in  which  the  two  component  glasses  (front 
and  rear  elements)  can  be  used  as  separate  lenses. 

COVERING  POWER — The  limits  within  which  a  lens  is  capable  of  giving 
a  well  defined  image. 

CURVATURE  OF  FIELD — A  defect  in  a  lens  showing  sharper  definition 
at  the  center  of  the  plate  than  at  the  edges. 

DEFINITION — Clearness  and  sharpness  of  image. 

DENSE — Applied  to  negatives  which  have  been  over-developed. 

DENSITY — The  printing  capacity  of  a  negative. 

DESICCATED — Anhydrous.  Dry  powder,  not  crystals.  Applied  to 
»  chemical  salts  from  which  all  water  has  been  removed. 

DEVELOPING-OUT  PAPER  OR  D.  O.  P.— Sensitized  paper  upon  which 
the  photographic  image  is  invisible  until  development  has 
taken  place.  Applied  to  "gas-light"  papers  or  those  printed 
by  artificial  light.  Generally  applied  to  papers  which  require 
longer  exposure  than  Bromide  papers. 

DEPTH  OF  Focus — The  power  of  a  lens  to  render  sharply  both  near 
and  distant  objects  at  the  same  time 

DETAIL — The  definition  recorded  by  the  lens  of  the  minute  parts  of 
a  subject. 

DEVELOPER — A  chemical  solution  employed  to  bring  out  or  render 
visible  the  latent  image. 

DEVELOPMENT — The  process  of  converting  the  latent  or  invisible 
image  on  a  film,  plate  or  paper  into  a  visible  image. 

DIFFUSED  LIGHT^ — Such  as  comes  from  a  clouded  sky,  in  contra-distinc- 
tion  to  direct  sunlight.  Light  which  does  not  strike  directly, 
but  is  arrested  and  diffused  by  some  medium,  such  as  ground 


DIFFUSION  OF  Focus — Throwing  the  image  a  little  out  of  focus  to 
produce  a  soft  effect. 

DISTORTION — An  incorrect  rendering  of  the  image. 

DODGE — To  dodge  is  to  prevent  light  from  striking  a  portion  of  a 
negative  when  printing  by  shading  that  portion  with  some 
opaque  body. 

DOUBLET — A  lens  composed  of  two  separable  lenses. 

EMULSION — A  term  applied  to  the  sensitized  coating  on  plates,  films 
or  paper,  which  is  acted  upon  by  the  light  rays. 

EQUIVALENT  Focus — The  distance  from  the  optical  center  of  a  lens 
to  the  ground  glass  when  focused  on  a  distant  object. 

EXPOSURE — The  period  of  time  during  which  a  sensitized  film,  plate  or 
paper  is  exposed  to  the  action  of  light. 


170  GLOSSARY 

FERROTYPE  PLATE — A  highly  polished  enameled  plate  of  thin  metal 
frequently  used  for  obtaining  a  high  gloss  on  prints,  by  drying 
the  print  with  its  face  in  contact  with  the  plate. 

FIXING — The  process  of  removing  the  unacted  upon  silver  salts  from 
a  negative  or  print,  usually  by  immersion  in  a  solution  of  hypo. 

FLARE  SPOT — A  circular  patch  of  light  in  the  center  of  the  image 
caused  by  a  defect  in  the  lens. 

FLAT — Lack  of  vigor  or  contrast  in  a  negative  or  print. 

FLATNESS  OP  FIELD — That  quality  in  a  lens  affording  sharp  impressions 
at  both  center  and  edge  of  plate. 

Focus — The  point  at  which  converging  rays  of  light  from  a  lens  meet, 
forming  an  image.  A  picture  is  said  to  be  in  focus  when  all 
details  are  sharp  and  well  defined. 

FOCUSING  SCALE — A  graduated  scale  for  different  distances,  fixed  to 
the  bed  of  a  camera,  and  which  permits  of  focusing  for  any 
given  distance,  without  using  a  ground  glass  screen. 

FOCUSING  SCREEN — A  sheet  of  ground  glass  at  the  back  of  the  camera 
on  which  the  image  is  focused  and  arranged  before  exposure. 

FOG — A  deposit  of  metallic  silver  all  over  the  plate  or  film,  including 
those  parts  which  should  not  have  been  affected  by  light. 

FORCING — Attempting  to  bring  out  detail  in  an  under-exposed  film, 
plate  or  print,  usually  by  the  addition  of  accelerator — liable 
to  produce  fog. 

FREAKS — Peculiar  white  markings  caused  by  incorrect  developing 
solutions.  (See  page  128.) 

FRILLING — The  puckering  up  and  detachment  of  the  film  around 
the  edges;  happens  oftenest  in  hot  weather,  or  through  too 
much  alkali  in  the  developer.  (Easiest  avoided  by  employing 
tank  development.) 

HALATION — A  blurred  effect,  resembling  a  halo,  usually  occurring 
around  a  window  opening,  or  other  exceedingly  strongly  illu- 
minated portions  of  the  image;  caused  by  a  reflection  of  the 
rays  of  light  from  the  back  of  the  plate.  (Kodak  Film  is 
non-halation.) 

HALF-TONES — All  gradations  between  highlights  and  deepest  shadows. 

HARDNESS — Excessive  contrast  in  negatives  or  prints,  too  great 
difference  between  lights  and  shadows. — See  Contrast. 

HIGHLIGHTS — The  portions  of  a  picture  upon  which  the  greatest  amount 
of  light  is  concentrated.  The  denser  portions  of  a  negative 
or  the  lightest  parts  of  a  print. 

HYDROMETER — An  instrument  for  testing  the  specific  gravity,  and 
hence  the  strength,  of  solutions  used  in  compounding  developing 
solutions. 

HYPO — The  abbreviation  of  the  term  Sodium  Hyposulphite,  or  more 
correctly,  Sodium  Thiosulphate,  used  for  fixing  films,  plates 
and  paper;  may  be  obtained  for  use  in  either  granulated  or 
crystal  form. 


GLOSSARY  171 

IMAGE — The  picture  thrown  by  the  lens  upon  the  focusing  screen, 

or  sensitive  film. 
INFINITY — A  lens  is  said  to  be  set  for  infinity  when  focused  at  a  point 

beyond  which  all  objects  are  sharply  defined. 
INTENSIFICATION — Increasing  the  density  of  a  negative  or  print. 
LATENT  IMAGE — The  image  impressed  upon  a  film  or  plate  by  light 

action,  and  which  is  invisible  till  chemically  treated  by  the 

process  known  as  development. 
LATITUDE  OF  EXPOSURE — That  quality  in  a  film  or  plate  which  allows 

variations  in  exposure  without  detriment  to  the  quality  of 

the  negative.     (Kodak  Film  has  this  quality  in  the  highest 

degree.) 
LENS — A  circular  glass  or  combination  of  glasses  optically  ground 

and  polished,  mounted  in  a  metal  cell. 

LIGHT  FILTER — Any  colored  glass,  stained  film,  or  solution  used  with 
'     the  lens,  which  absorbs,  rays  of  certain  colors  and  allows  others 

to  pass. 
LIGHT  FOG — A  graying  of  the  image,  produced  by  an  unsafe  dark-room 

lamp,  or  accidental  exposure  to  white  light,  through  a  defect 

in  apparatus. 
MILKY — Appearance  of  some  incorrect  fixing  baths.    Often  the  result 

of  using  impure  chemicals. 
NEGATIVE — A  photographic  image  on  a  plate  or  film  in  which  the 

dark  portions  of  the  subject  appear  light,  and  the  light  portions 

dark. 

NON-ACTINIC — Those  colors  or  rays  of  light  which  do  not  affect  sen- 
sitive emulsions. 
ORTHOCHROMATIC — Color  sensitive.     A  film  or  plate  is  said  to  be 

orthochromatic  when  it  is  sensitive  to  colors  of  the  spectrum 

other  than  the  blue  and  ultra-violet.     (Kodak  film  is  highly 

orthochromatic.) 
OXIDATION — As   applied   to    developer — a   deterioration   due   to   the 

presence  of  oxygen.     An  oxidized  developer  is  dark  in  color 

and  usually  causes  discoloration  of  the  negative  or  print. 
OVER-EXPOSURE — Too  long  exposure  of  the  sensitive  surface. 
OVER-DEVELOPMENT— Too  long  a  time  in  the  developing  solution. 
PIN  HOLES — Minute  spots  or  holes  in  a  negative,  usually  caused  by 

dust  settling  on  the  surface  before  exposure. 
POSITIVE — A  term  used  in  contradistinction  to  negative. 
PRINTING    FRAME — A  specially  constructed  frame  for  making  prints. 

Holds  the  negative  and  sensitive  paper  in  contact  while  printing. 
PRECIPITATE — A    substance  which,   having  been   dissolved,   is  again 

separated  from  its  solvent  and   settles  to  the  bottom  of  the 

vessel  containing  it. 
RACK  AND  PINION — A  screw  and  rack  adjustment  for  easy  and  accurate 

focusing. 
RECTILINEAR  LENS — One  which  does  not  distort  or  show  curvature  of 

straight  lines  in  the  image. 


172  GLOSSARY 

REDUCER — A  chemical  solution  for  decreasing  contrast  or  density. 
REFRACTION — The  change  in  direction  of  rays  of  light  when  passing 

through  a  transparent  medium. 
RESTRAINER — A  compound  or  solution  that  will  check  or  hold  back 

the   action   of   the   developer.      Potassium   Bromide   in   weak 

solution  is  commonly  employed. 
RETOUCHING — The  removal  or  softening  of  defects  in  a  negative,  by 

the  application  of  pencil  or  color. 
RETOUCHING   MEDIUM — A  solution  of  gum  and  turpentine,   applied 

to  the  negative,  to  afford  a  "tooth"  for  the  lead  or  color  applied. 
REVERSAL — The  image  or  portions  of  it  being  positive  instead  of 

negative   or   vice   versa.      Caused   by   extreme   over-exposure 

or  exposure  to  white  light  during  development. 
SHADOWS — The  thinner  portions  of  a  negative  or  the  darker  portions 

of  a  print. 
SOFT — Term  applied  to  print  or  negative;    refers  to  lack  of  brilliancy 

or  contrast.    A  "soft"  print  will  contain  all  possible  detail. 
SPECTRUM — Solar — The  seven  colors  produced  by  passing  a  ray  of 

white  light  through  a  prism. 
SPHERICAL  ABERRATION — A  lens  defect — the  inability  to  bring  the 

marginal  and  central  rays  of  light  to  one  focus,  resulting  in 

a  loss  of  sharpness. 
SPOTTING — The  filling-in  of  spots  or  imperfections  in  a  negative  or 

print  by  means  of  india  ink  or  color  with  a  fine  brush. 
SQUEEGEE — Usually  a  strip  of  soft  rubber  set  in  a  handle,  or  a  rubber 

roller,  and  used  to  place  a  print  in  absolute  contact  with  the 

ferrotype  plate. 
SQUEEGEEING — Pressing  wet  prints  face  down  on  ferrotype  plates  to 

obtain  high  polish. 
SYMMETRICAL  LENS — One  whose  combinations  are  of  similar  curves, 

and  whose  combinations  may  be  used  singly. 

TEN  PER  CENT.  SOLUTION — Approximately,  a  solution  made  by  dis- 
solving one  ounce  (by  weight)  of  dry  chemical  in  nine  fluid 

ounces  of  water. 
TONE — The  shade,  hue  or  degree  of  color  prevailing  in  a  negative 

or  print.    Also  depth  or  intensity  of  any  part  of  a  photograph. 
THICK— (See  Dense). 

UNDER-EXPOSURE — Too  short  an  exposure  for  correct  results. 
WEAK — Thin,  soft,  lifeless,  lacking  contrast. 


